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.

Pictures at an Exhibition: A Musician’s Search for the Sound of Identity

This post contributed by Darrell Grant.

When I received the invitation from PDX Jazz and the Portland Art Museum to present a concert in honor of International Jazz Day, I knew immediately that I wanted to tie the performance closely to the Constructing Identity exhibit. This expansive exhibition is a powerful lens through which to view over a century of African-American formation, exploration, and reinvention of identity—much of it in the face of dehumanizing racism and oppression. I was particularly interested to explore the ways that the work and narratives of the exhibit artists intersected with those of 20th century jazz artists—to find commonalities between the musical and the visual.

It was daunting trying to choose from among the bounty of historic painting, sculpture, printmaking, tapestry, and collage in the exhibit, not to mention the hundreds of notable jazz composers I might pair them with. However, over the course of several visits to the exhibit, a program began to take shape. I started with pieces that spoke to me personally.  There were several whose subject matter, imagery, symbolism, or stylistic approach “struck a chord.” Then I went through the exhibit and read all the captions accompanying the works. As I began to settle on a subset of artists to explore, I took to the Internet to research their histories and related work.

I am a layman when it comes to art history. Perhaps for that reason I thoroughly enjoyed this process of discovery around both the iconic artists and contemporary practitioners. I found the range of cultural backgrounds and influences fascinating. I was interested in the differences in formal training and the extensive travel that many of them undertook that enriched their educations and their practices. I have read many similar things in the biographies of jazz artists. Not surprisingly, many of the visual artists were products of major urban art scenes in New York, Philadelphia, and Chicago, cities that were also centers of jazz musical innovation. I was intrigued to read about the influence of artist collectives and informal groups or “schools” on the development of individual artists’ practices. These too, had parallels in jazz, including the Association for the Advancement of Creative Musicians (AACM) in Chicago and the Black Artists Group (BAG) in St. Louis. It was also interesting to note how many of these artists reacted to, and participated in historic cultural moments such as The Harlem Renaissance and the Civil Rights Movement in similar ways to their jazz counterparts.

Once I selected my composers, then I got to pursue the most enjoyable part of the process: identifying jazz compositions that might resonate with specific visual art. In this process I was aided by the fact that music and visual art share a wide swath of descriptive language. These range from stylistic categorizations like impressionism and abstraction, to descriptions of mood like “bright” and “dark.” In fact, the very idea of color as a musical characteristic reflects our penchant for describing music in visual terms. Similarly, we talk about the “balance” of a composition or a painting, the “contour” of a drawn or melodic line. In describing visual art we also hear references to elements of jazz like improvisation and rhythm, as well as vernacular terms like “soulful, “bluesy, and “jazzy” as a way of getting closer to the essence of the work.  I tried to use this common language as a way of listening and seeing, in order to discover what the music and the art might have in common.

The musical selections in the “Sound of Identity” range from classics of the jazz repertoire to contemporary works. Likewise, the composers include icons like Ellington, Monk, and Mary Lou Williams, to contemporary jazz artists like Terence Blanchard and Marcus Shelby. Like the exhibit’s visual artists, their works express multi-faceted identities and artistic visions that are shaped by the many “hats” they wear—as performers, composers, teachers, mentors, leaders, activists, learners, and collaborators. They come from a range of ethnic, cultural, and class backgrounds, and create from a myriad of influences, personal narratives, and artistic points of view. Some deal in abstract subject matter and seek to explode established forms. Some take programmatic approaches and create aural “landscapes” of sound. Others highlight the vernacular, or even the overtly political in their work. What is universal is their quest to be seen as individuals, to have their unique stories and perspectives represented, and to make space within the culture for a larger range of experiences, ideas, and expressions. One of the historic challenges of African-American artists is that of straddling the line between high art and vernacular/popular culture. Historically we have striven to expand the perception of our work idiom to embrace both.

At the core of Constructing Identity is the assertion that “African-American art is American art.” The artistic voices of our community are, and always have been, intrinsic to the construction of American identity. The exhibit also encourages viewers to move past simplified racial constructs of “black” and “white” to see these artists for their singular contributions within the framework of American culture. Studying the exhibit and creating this concert gave me a deeper appreciation for the diversity of African-American narratives and the myriad cultural and personal identities that are so often overlooked in discussions around race. This “Sound of Identity” concert program is an attempt to connect to the cultural expressions and experiences that inspired generations of visual artists and musicians, as well as to highlight the quest for individual identity that we all pursue within the larger communities to which we belong.

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Just announced: Animating Life: The Art, Science, and Wonder of LAIKA

The announcement of Animating Life: The Art, Science, and Wonder of LAIKA earlier this week drew praise from the press, and excitement from Museum members, LAIKA fans, and animation enthusiasts. The exhibition is a groundbreaking view behind-the-curtain into the visionary artistry and technology of the globally renowned animation studio.

“Computer animation has upended Hollywood, but a group of independent filmmakers in Oregon still make their movies by hand.” –The Oregonian

“Featuring photography, video clips and physical artwork from Laika’s four Oscar-nominated feature films — Coraline, ParaNorman, Boxtrolls and Kubo and the Two Strings — the exhibit promises to immerse visitors in Laika’s creative process by exploring the company’s production design, sets, props, puppets, and costumes.” –Portland Business Journal

“It was probably in 2009 that we did a small installation of figures from the Coraline movie and over the years we’ve been talking about how to pull this together for a longer exhibition,” Ferriso tells WW.” –The Willamette Week

“It’s been another good year for Laika, what with more Academy Awards nominations. Now people can learn more about the Hillsboro animation studio in an upcoming documentary and museum exhibit.” –Portland Tribune

“LAIKA Teams with Portland Art Museum for Major Retrospective.” –Animation World Network

The exhibition also coincides with LAIKA’s 10 year anniversary.

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Portland Art Museum

Remixing Rodin’s Sculpture

In support of the exhibition Rodin: The Human Experience, Rodin Remix is a hands-on space that encourages visitors to explore and create figures based on the artists’ own process of reusing old fragments in new works. It also puts a modern spin on Rodin’s method of mass production by showcasing pieces printed on 3D printers.

Fragments and Recycling

Rodin recycled cast offs, fragments of plaster casts that had already been made, by recombining them into new sculptures. For example, Rodin knew that a different pair of legs would change a sculpture’s expression. In Rodin Remix visitors can create their own dramatic sculptures from 3D printed and magnetized Rodin figures, to get a taste of the artist’s use of fragments.

We partnered with the Portland 3D Printing Lab to produce 3D prints, which are made by extruding molten plastic into thin layers. As the layers add up, they build a 3D form. Prints were made from free online STL files under the Creative Commons license, and from scans of the Rodins in the show. Those files can now be found on the exhibition page.

Sizing Up and Down

Rodin would sculpt a model in clay, then pass it to his assistants. They rendered the work again in marble or bronze, sizing it up or down according to Rodin’s and his patron’s wishes. Rodin’s assistants made hundreds of casts of the same model, all official Rodins, in a sort of artistic mass-production. Smaller bronzes, produced in large quantities, were more affordable. These relatively inexpensive bronzes widened the range of people who could purchase a Rodin, earning the sculptor more money and popularity.

Just as Rodin mass-produced bronze casts of the same sculpture in multiple sizes and media, the Portland 3D Printing Lab made many 3D prints of Rodin sculptures, experimenting with size and color. 3D printing can easily mass-produce objects, echoing Rodin’s earlier mass-production. The Portland 3D Printing Lab created numerous prints of Fallen Caryatid with Stone in Rodin Remix, to juxtapose the expressive qualities of the same sculpture when it is 6” high and bright orange instead of 10” high and black.

All of the 3D prints in Rodin Remix provide a tactile experience of Rodin’s forms, one you would not be able to have with the bronzes. Visitors are also encouraged to Instagram a photo of their creation in front of a backdrop of Rodin’s studio, which shows the plaster fragments he used. Each Monday during the run of the show, a visitor’s photograph appears on the @portlandartmuseum Instagram, with the tag #rodinremix. Come to the museum to experience Rodin’s art in a new way, build a sculpture, and Instagram your creation!

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Remixing Rodin’s Sculpture (Part Two)

Our local partner organization, the Portland 3D Printing Lab, contributed this post.

The Portland Art Museum worked with the Portland 3D Printing Lab to create 3D printed plastic Rodin sculptures for Rodin Remix, the hands-on space that supports the exhibition Rodin: The Human Experience. The goal of Rodin Remix was the subject of the last post; this one will describe the work that went into producing just under 30 3D prints of Rodin’s sculptures.


I’m Shashi Jain, Organizer of the Portland 3D Printing Lab, a community of around 1100 “Layer Geeks” who love 3D printing and its many applications. We were asked by the Portland Art Museum to 3D print versions of Rodin’s sculptures for Rodin: The Human Experience, so that patrons could interact with the artist’s forms. The project has three pieces:

  1. 3D models of 3 of Rodin’s male figures, which can be posed or reassembled into your own piece (Instagram gallery here).
  2. 3D scans of 10 pieces from the Iris and B. Gerald Cantor Collections, available here.
  3. 3D printed replicas of 15 Rodin pieces.

Over thirty volunteers stepped up. Here’s what it was like in their own words.

3D Models by Maz and Attero

Maz and Attero | www.mazandattero.xyz

We designed the posable Rodin figures. The trickiest part was figuring out the posing mechanism. It had to be fun, while balancing durability, ease of use, and safety. We initially thought of Lego studs or ball joints, but settled on a combination of magnets and washers.

The 18-hour design process went like this:

  1. We took the 3D model files (STLs) of Rodin’s sculptures and converted them with Autodesk ReMake into Object/CAD files that can be easily manipulated.
  2. We scaled all the models to a similar size with Autodesk Fusion 360, so that attaching parts from one sculpture to another would have the right proportions.
  3. We cut the scaled models into interchangeable sections called fragments.
  4. Next, cavities were added for magnets in the limb/head fragments and for metal washers in the torsos. We included enough space to fit the metal/magnets, plus the glue to hold them in.
  5. Last, we output the fragment models to STLs that could be easily printed by volunteers.

Maz and Attero enjoyed the opportunity to participate in the problem solving and 3D design of another amazing community 3D printing project.

3D Scanning by Adam McGee, Portland 3D LLC

Adam McGee |  Portland 3D LLC |  www.PDXDDD.com

For this job, I used an iPad equipped with the Structure Sensor from Occipital Labs. Together, they form a powerful 3D camera system that can record the shape and look/feel of almost anything. At the museum, I used an app called Structure Scanner to record each piece at all angles. It was tough to get fine details without touching the statues. I had to be careful to minimize “artifacts” – unwanted scans of display cases, tools, and people. I used Autodesk Meshmixer to fill holes in the scans, clean out artifacts, and size the models.

I invite you to have fun with the scanned models; 3D print them for yourself or a friend so you too can be a part of the maker movement.

3D Printing by Portland 3D Printing Lab

Matt Liepold | Designer and Social Media | www.pdx3dplab.co

RodinRemix is the second “crowdprinting” project done by our group. We had to distribute 29 pieces for printing – 23 replicas of Rodin sculptures, 3 remixable figures, and 3 backups for spare parts. In total, we printed 56 pieces over 620 3D printer hours, and using 25kg of plastic (locally sourced at Proto-Pasta) over three months.

We used a spreadsheet to coordinate printing and to collect statistics. Maz and Attero would load files onto a shared drive, then we’d add links in the spreadsheet. Volunteers would add their name by the file based on their print capabilities (size, color, finish). This way, no one would duplicate prints and we could track the statues easily.


After many hours printing, designing, scanning, and organizing, members of the Portland 3D Printing Lab made the Rodin Remix project a reality, for which the Portland Art Museum is very grateful. Visitors enjoy the hands-on interaction with Rodin’s sculptural forms and the opportunity to make their own sculpture by mixing and matching the magnetic Rodin fragments. For more information about the Portland 3D Printing Lab and their future projects, visit their website www.pdx3dplab.co.

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The Power of the Flower

Sara Krajewski, The Robert and Mercedes Eichholz Curator of Modern and Contemporary Art

Flowers mark the turning of the seasons; cut and arranged in a vase they accompany the occasions of life. Poets ascribe symbolic meaning to the rose, daisy, and lily. What about the orchid? The showy flair of the Phalaenopsis is now found everywhere from decorating corporate offices to the florist’s shelves of big-box retail stores. The once exceptional and exotic plant has become a symbol for the homogenizing effects of global trade, as it is shipped around the world to adorn a variety of domains. In an extraordinary appearance, Two Orchids by renowned artist Isa Genzken rises outside the Portland Art Museum, white blooms balanced on stems measuring three stories tall. Rendered in painted bronze, the outsized flowers have the scale of a monument; but as a monument it is a complicated one.

Genzken has often employed mass-produced products in recent years: toys, souvenirs, plastic flowers, fast fashion items, and many other things that are available cheaply, large quantities, and circulating widely. Assembled into tableaux or installations, her sculptures speak to the web of detrimental effects bound to our contemporary consumer culture and our throwaway mentality. Genzken’s choice of readymade materials cast light on what the artist calls the language of mass production: “I’m not only interested in what they portray, but rather in the formal aspect of how they are made. And they come from all over the world: one component is from Taiwan, the next comes from Mexico and the third from somewhere completely different.” (Phaidon, monograph) From this perspective Two Orchids reveals a sinister side to the gross availability of both the actual botanical specimen and plastic replicas of it.

The recurring appearance of flowers in Genzken’s work also invites an appreciation for the sentimental value and pure visual pleasure they induce. The artist utterly transforms the delicate plant by radically enlarging it and casting it in bronze; she solidifies the fragility of the ephemeral bloom in a scale that exhilarates and astounds in its apparent permanence. On a fundamental level, flowers represent the natural world in contrast to Genzken’s reaction to the built environment. Throughout her career Genzken has explored the verticality and weightiness of architecture, calling attention to its dominating influence over experience of the urban landscape. Several works fight against this phenomenon. In the late 1980s, Genzken proposed public art works of giant flowers that were never realized. In a sculpture series from the late 1990s called Fuck the Bauhaus, Genzken attached a photo of a single long stem flower to a blocky skyscraper form, metaphorically dematerializing the façade. She commented stirringly that that the Bauhaus school of architects, led by Mies van der Rohe whose international-style buildings have shaped modern cities, should be denounced for its formalism that “disdained the beauty of flowers.”

Installed previously in a plaza at the edge of New York City’s Central Park, Two Orchids stood in a state of limbo between the park’s trees in one direction and the skyline of New York in the other. Now in Portland, the work animates a corner of the Museum’s red brick architecture on a site previously occupied by a large chestnut tree felled several years ago. Perhaps true to the ubiquitous plant it was modeled after, the sculpture adapts to its context and conjures up new associations for those who experience it in this location.

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Museum Responds to the Proposed NEA, NEH, and IMLS cuts

The Portland Art Museum joins museums and cultural institutions across the country in opposition to the proposed elimination of the National Endowment for the Arts (NEA), the National Endowment for the Humanities (NEH), and the Institute of Museum and Library Services (IMLS). The arts are essential to our shared humanity and provide unparalleled opportunities for reflection, creative expression, and most importantly, connection to each other.

Art impacts people of all ages and from all backgrounds, and the Museum provides the space and resources that make that impact felt even more deeply—from focused programs for children and people living with dementia, to tours for visitors who are blind or partially sighted, and lectures for all. Our education and public programs inspire as well as offer tools that turn art into powerful lessons on history and empathy. School field trip tours open up new horizons to students and give them a broader sense of their place in the world. Each new exhibition and program offers a new opportunity to form lasting community partnerships that further extend the impact that the Museum is able to make.

The NEA, NEH, and IMLS have been vital partners in our ability to serve our community—locally and nationally. Funding has supported increased access to the Native American and Northwest art collections, as well as Northwest Film Center education and exhibition programs, among many other projects. The NEA’s crucial indemnity program for exhibitions and loans of artwork has made it possible to present many masterworks in Portland. Additionally, through the Oregon Arts Commission, the NEA provides operating support to the Museum.

The support that the Museum and other local and regional organizations have received from the NEA, NEH, and IMLS has helped to shape the dynamic cultural and civic environment that we hold dear. The Portland Art Museum strongly urges Congress to continue funding these agencies, whose work sustains our quality of life and provides real economic value across the country. Our experiences with art create a shared sense of community, nationality, and ultimately humanity—something more important now than ever.

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Portland Art Museum

Mark Rothko Pavilion/Connections Campaign

The Museum is pleased to present a new section of the website featuring the Connections Campaign expansion project. Learn more about the proposed changes to the campus, including the stunning central Rothko Pavilion, see architectural renderings, and learn more about Mark Rothko’s connection to Portland. As the fundraising phase turns to groundbreaking, stay tuned for updates and information.

Visit the website. 

 

 

 

 

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Museum partners with Potluck in the Park for a Free Christmas Dinner

For the third year in row, the Museum is partnering with Potluck in the Park for a free Christmas day dinner. The event also includes gifts, phone calls, photos with Santa, and live jazz music.

Portland Art Museum Executive Director and Chief Curator Brian Ferriso, who volunteers with his family at the event, said, “we are honored to partner with Potluck in the Park to host a Free Christmas Dinner again this year. When Potluck in the Park leadership approached the Museum three years ago to host the annual event, due to the closing of the YWCA, we knew it was something we wanted to do. The Portland Art Museum aspires to be a resource for all and we are honored that our celebrated facilities and collections can be used to serve those most in need.   It is truly a unique opportunity for the Museum and Potluck in the Park to not only nourish bodies, but also souls.”

Read more from the organizers of the event below.

Potluck in the Park is hosting its Free Christmas Dinner for the 23nd year.  Portland’s largest Christmas Dinner will be served on Christmas Day at the Portland Art Museum.  The dinner is open to anyone in need or anyone without friends or family to spend the holiday with.  Over 400 volunteers will help feed and gift more than 1000 guests.  The doors will be open for three hours from 1:00 to 4:00pm to make sure everyone is fed.

Guests will dine on a traditional holiday meal in the Art Museum’s Fred and Suzanne Fields Ballroom.  Dinner will be accompanied by live jazz from Tom Grant and Patrick Lamb and friends.  Guests can receive a photo of themselves with Santa and make free phone calls to loved ones.

Guests will also receive socks filled with goodies by Cathedral Elementary School students and warm wear collected by Fred Meyer employees and others.  Kennels for guests’ pets will be available during the meal and pet food will be distributed courtesy of the Pongo Fund.

Major contributors to the event include: The Hilton Hotel, DoubleTree Hotel, Peter Corvallis Productions, West Coast Event Productions, Classic Pianos, DeAngelo’s Catering & Events, Brattain International, Fred Meyer Employees and the more than 200 student elves of Cathedral School who joyfully stuffed more than 1000 pairs of socks.

ABOUT Potluck in the Park

Potluck in the Park is an all-volunteer non-profit organization in its 26th year of providing nutritious meals to anyone in need EVERY Sunday, rain or shine, at O’Bryant Square in Downtown Portland.  They have served meals for 1323 consecutive Sundays since 1991.

Potluck in the Park’s mission is to nourish and enrich the lives of individuals by providing a free hot meal  and a safe community gathering place every Sunday. Potluck volunteers believe in treating everyone with dignity, respect, friendliness and kindness. It goes a long way in helping build self-esteem and a sense of self-worth in many of their guests.

The group began serving Christmas Dinner at the YWCA the first year after they started that Christmas fell on a Sunday in 1994.  It became a Christmas Day tradition soon after.

In 2012 Potluck in the Park volunteers were awarded the Oregon Governor’s Volunteer Regional Award for Outstanding Lifetime Achievement.

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Grace Kook-Anderson Appointed Curator of Northwest Art

Brian Ferriso, the Marilyn H. and Dr. Robert B. Pamplin Jr. Director of the Portland Art Museum, today announced the appointment of Grace Kook-Anderson as the Arlene and Harold Schnitzer Curator of Northwest Art.

Kook-Anderson was most recently the Curator of Contemporary Art at the Laguna Art Museum in Laguna Beach, California, and has spent the last year as an independent curator and freelance writer in Portland. Previously she was curator and exhibition organizer on a number of projects, including Amateurs (CCA Wattis Institute for Contemporary Arts, San Francisco), and The Land Mark Show (Center for Contemporary Arts, Santa Fe, New Mexico), among others, and served as assistant to the chief curator at the Asian Art Museum of San Francisco. She holds undergraduate degrees in art history and art practice from University of California, Berkeley, and a master’s degree in curatorial practice from California College of the Arts in San Francisco.

Kook-Anderson assumes her role on January 9, 2017, and will be responsible for the care, research, exhibition, and growth of the Northwest art collection, including the organization of the biennial Contemporary Northwest Art Awards. She fills the position left vacant by Bonnie Laing-Malcolmson, who retired earlier this year. The collection, housed primarily in the Arlene and Harold Schnitzer Center for Northwest Art, brings the Museum’s regional collection to the forefront, tracing the history of Northwest art from the late 19th century to today.

The two–floor Center is home to works from the collection, as well as historic and contemporary exhibitions that celebrate the Northwest’s history and culture. Arlene Schnitzer is a passionate advocate of Northwest art, as was her late husband, Harold. This enthusiasm is reflected in their endowment of the Curator of Northwest Art, donations supporting the acquisition of art, and gifts of art to the Museum. Arlene Schnitzer, who was once an art student in the galleries that bear her name, was instrumental in elevating the national and international profile of Northwest artists.

This vast collection of Northwest art distinguishes the Portland Art Museum from other cultural institutions in the region. The collection is rich in a variety of works by past and present artists living and working in Oregon, Idaho, Montana, Washington, and Wyoming. Together, these historical and contemporary objects depict a visual narrative of the Northwest while providing insight to significant works by artists such as Northwest School members Carl Morris, Morris Graves, and Mark Tobey, legendary Oregon artist C.S. Price, and the acclaimed Jacob Lawrence, who is best known for depicting important moments in African-American history. Thanks to a National Endowment for the Humanities grant, the entire Northwest art collection is now available online.

“I am thrilled by the appointment of Grace Kook-Anderson as the Arlene and Harold Schnitzer Curator of Northwest Art,” said Brian Ferriso, the Portland Art Museum’s director and chief curator. “Grace’s highly regarded tenure as the Curator of Contemporary Art at the Laguna Art Museum, coupled with her recent work in Portland as an arts writer and critic, make her an ideal candidate to lead our important mission of evaluating and celebrating our region’s historical and burgeoning visual arts scene.”

During her six years at the Laguna Art Museum, Kook-Anderson organized nearly 30 exhibitions, including the creation and curation of the ex.pose contemporary art program, a space dedicated to a single artist that has strong parallels to the Portland Art Museum’s APEX gallery, which she will manage. She expanded the exhibition calendar from one year to three years, served as interim education curator, developed public programs, engaged in fundraising, authored and contributed to multiple publications, and acquired many important pieces for the collection. She also presented Best Kept Secret: UCI and the Development of Contemporary Art in Southern California, 1964-1971 as part of the Getty’s 2011/12 Pacific Standard Time Initiative: Art in LA 1945-1980.

Since moving to Portland, Kook-Anderson has immersed herself in the local arts community, working as a curator, writer, and instructor at Portland State University, participating in portfolio reviews, and serving as a committee member for Converge 45.

“Having closely followed the Portland Art Museum for the last several years, I am very excited to be part of the talented staff of the museum,” Kook-Anderson said. “I look forward to collaborating with fellow curatorial and educational staff, deepening my knowledge of the collection, expanding the scholarship of historical Northwest art up to the present time, and actively engaging with regional artists in the context of a broader art scene.”

IN THE NEWS

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Have Conversations Here

Portland Art Museum Education Team

Portland Art Museum Education Team

The team here at the Portland Art Museum invites our entire community to see this museum as a place for dialogue, reflection, and coming together. During your visit, we encourage you to open yourselves to the creative energies of art, connect with your own personal experiences, and even consider how artists can challenge our own viewpoints and perspectives. Art has the power to spark our curiosity, celebrate our creativity, bring us together, and help us share our own stories and voices. We encourage you to use the galleries throughout the Museum as spaces for dialogue, while always remaining respectful of all visitors.  Explore together, look closely, and find a place within the Museum to sit and talk about what you see and experience.

To support these types of conversations, our Education staff recently created a Conversation Guide.  This 2-page guide includes a few suggestions to spark thinking and conversation during your visit to the Museum as well as before and after your visit.  Feel free to print this guide, and share it with others.  The guide also include additional resources to learn more about dialogue and teaching.

WHY DIALOGUE?

Dialogue is a powerful mode of conversation that genuinely seeks mutual understanding. It can occur between friends, co-workers, family members, and even among strangers. And it can certainly occur between people who do not share the same experiences, perspectives, or ideas.  Learning to listen carefully and disagree respectfully are essential skills in today’s world.

TALKING & LISTENING STRATEGIES FOR FAMILIES

Talking about difficult topics with kids can be challenging. Children are curious and constantly ask questions about the world around them. In one breath, they might ask about a range of topics — from the weather to something they heard on the news. Whether at home, in the car, or here at the museum, it can be difficult to know how respond when difficult questions come up.

To help support these types of conversations here at the museum for all ages, the Conversation Guide offers a few flexible suggestions. These strategies might help your family talk together about some of the socially- or politically-relevant issues occurring in our world, or about some of the artworks you might encounter during your visit to the Museum.

“Talking in museums is one of the things that makes them matter.”  – Adam Gopnik, writer

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