Reciprocal Membership Programs

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RECIPROCAL MEMBERSHIP PROGRAMS Enjoy reciprocal membership privileges with over 50 museums across the country when you join at the Friend, Young Patrons, Sponsor, Sustainer, Conservator, or Patron membership levels by presenting your Portland Art Museum membership card with affixed Western Reciprocal (WR) and Museum Alliance Reciprocal Program (MARP) stickers. Combined list below. CALIFORNIA NEW HAMPSHIRE Crocker Art Museum Currier Museum of Art, Manchester The Museum of Contemporary Art, LA NEW JERSEY San Francisco Museum of Modern Montclair Art Museum San Jose Museum of Art Newark Museum Skirball Cultural Center, LA New Jersey State Museum UC Berkeley Museum and Pacific Film Archive (BAMPFA) NEW YORK Japanese American National Museum, LA ALbright-Knox Art Gallery, Buffalo San Diego Museum of Art Brooklyn Museum UCR ARTS (UC Riverside-College of Solomon R. Guggenheim Museum Humanities, Arts & Social Sciences) Parrish Art Museum, Water Mill Hammer Museum (UCLA) OHIO Fine Arts Museum of San Francisco Cincinnati Art Museum (DeYoung/Legion of Honor) Wexner Center for the Arts, Columbus COLORADO Colorado Springs Fine Arts Center OKLAHOMA Gilcrease Museum, Tulsa Denver Art Museum OREGON CONNECTICUT Portland Art Museum The Bruce Museum TENNESSEE FLORIDA Knoxville Museum of Art The John and Mable Ringling Museum of Art, Sarasota TEXAS The Norton Museum of Art, Amon Carter Museum of American Art, West Palm Beach Fort Worth Pérez Art Museum Miami Modern Art Museum of Fort Worth Vero Beach Museum of Art The Museum of Fine Arts, Houston GEORGIA VIRGINIA High Museum of Art, Atlanta Chrysler Museum of Art, Norfolk Virginia Museum of Contemporary Art, ILLINOIS Virginia Beach Museum of Contemporary Art, Chicago WASHINGTON INDIANA Seattle Art Museum The Indianapolis Museum of Art WISCONSIN LOUISIANA Milwaukee Art Museum New Orleans Museum of Art CANADA MAINE The Montreal Museum of Fine Arts Portland Museum of Art Art Gallery of Ontario MARYLAND National Gallery of Canada The Baltimore Museum of Art Royal Ontario Museum MASSACHUSSETTS The Vancouver Art Gallery The Institute of Contemporary Art/Boston Art Gallery of Greater Victoria Worcester Museum of Art MINNESOTA Walker Art Center, Minneapolis FRONT: Childe Hassam (American, 1859-1935), Mount Hood, Minneapolis Institute of Arts 1908, oil on canvas, Gift of Mr. Henry Failing Cabell..

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PUBLIC SCULPTURE LOCATIONS Introduction to the PHOTOGRAPHY: 17 Daniel Portnoy PUBLIC Public Sculpture Collection Sid Hoeltzell SCULPTURE 18
1 2 3 4 5 6 7 VIRGINIO FERRARI RAFAEL CONSUEGRA UNKNOWN ARTIST DALE CHIHULY THERMAN STATOM WILLIAM DICKEY KING JEAN CLAUDE RIGAUD b. 1937, Verona, Italy b. 1941, Havana, Cuba Bust of José Martí, not dated b. 1941, Tacoma, Washington b. 1953, United States b. 1925, Jacksonville, Florida b. 1945, Haiti Lives and works in Chicago, Illinois Lives and works in Miami, Florida bronze Persian and Horn Chandelier, 2005 Creation Ladder, 1992 Lives and works in East Hampton, New York Lives and works in Miami, Florida Unity, not dated Quito, not dated Collection of the University of Miami glass glass on metal base Up There, ca. 1971 Composition in Circumference, ca. 1981 bronze steel and paint Location: Casa Bacardi Collection of the University of Miami Gift of Carol and Richard S. Fine aluminum steel and paint Collection of the University of Miami Collection of the University of Miami Gift of Mr. and Mrs. Alfred Camner Location: Gumenick Lobby, Newman Alumni Center Collection of the Lowe Art Museum, Collection of the Lowe Art Museum, Location: Casa Bacardi Location: Casa Bacardi Location: Gumenick Lobby, Newman Alumni Center University of Miami University of Miami Gift of Mr. and Mrs. Blake King, 2004.20 Gift of Dr. Maurice Rich, 2003.14 Location: Wellness Center Location: Pentland Tower 8 9 10 11 12 13 14 JANE WASHBURN LEONARDO NIERMAN RALPH HURST LEONARDO NIERMAN LEOPOLDO RICHTER LINDA HOWARD JOEL PERLMAN b. United States b. 1932, Mexico City, Mexico b. 1918, Decatur, Indiana b. 1932, Mexico City, Mexico b. 1896, Großauheim, Germany b. 1934, Evanston, Illinois b.
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Amanda Snyder Portland Modernist
BONNIE LAING-MALCOLMSON Amanda Snyder Portland Modernist PORTLAND ART MUSEUM OREGON Contents 9 Director’s Foreword Brian J. Ferriso 13 A Portland Modernist Bonnie Laing-Malcolmson Published on the occasion of the exhibition Amanda Snyder: Portland Modernist, Organized by the Portland Art Museum, Oregon, June 30 – October 7, 2012. 44 Biography This publication is made possible by a generous bequest of Eugene E. Snyder. Copyright © 2012 Portland Art Museum, Oregon All rights reserved. No portion of this publication may be reproduced without the 49 Checklist of Exhibition written permission of the publisher. Library of Congress Cataloguing-in-Publication Data. Amanda Snyder: Portland Modernist p. 58; cm Published on the occasion of an exhibition held at the Portland Art Museum, Portland, OR. June 30 – October 7, 2012 Includes exhibition checklist, artist biography, and illustrations ISBN 9781883124344 Published by Portland Art Museum 1219 SW Park Avenue Portland, Oregon 97205 Publication coordinator: Bruce Guenther Design: Bryan Potter Design Photography: Paul Foster Printed: Image Pressworks, Portland Director’s Foreword With the opening of The Arlene and Harold Schnitzer Center for Northwest Art in 2000, and the subsequent establishment of a permanently endowed Curator of Northwest Art in 2006, the Portland Art Museum signaled its intention to create an historical record of our artistic community and its participants through an active exhibition, collection, and publication program. This commitment has resulted in the creation of an ongoing one-person contemporary exhibition series for artists of our region, APEX, and the biennial Contemporary Northwest Art Awards, as well as a renewed focus on historic figures through landmark survey exhibitions like Hilda Morris and Lee Kelly.
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4312-52 DEPARTMENT of the INTERIOR National Park Service
This document is scheduled to be published in the Federal Register on 04/22/2021 and available online at federalregister.gov/d/2021-08401, and on govinfo.gov 4312-52 DEPARTMENT OF THE INTERIOR National Park Service [NPS-WASO-NAGPRA-NPS0031764; PPWOCRADN0-PCU00RP14.R50000] Notice of Intent to Repatriate Cultural Items: Gilcrease Museum, Tulsa, OK AGENCY: National Park Service, Interior. ACTION: Notice. SUMMARY: The Gilcrease Museum, in consultation with the appropriate Indian Tribes or Native Hawaiian organizations, has determined that the cultural items listed in this notice meet the definitions of sacred objects and objects of cultural patrimony. Lineal descendants or representatives of any Indian Tribe or Native Hawaiian organization not identified in this notice that wish to claim these cultural items should submit a written request to the Gilcrease Museum. If no additional claimants come forward, transfer of control of the cultural items to the lineal descendants, Indian Tribes, or Native Hawaiian organizations stated in this notice may proceed. DATES: Lineal descendants or representatives of any Indian Tribe or Native Hawaiian organization not identified in this notice that wish to claim these cultural items should submit a written request with information in support of the claim to the Gilcrease Museum at the address in this notice by [INSERT DATE 30 DAYS AFTER PUBLICATION IN THE FEDERAL REGISTER]. ADDRESSES: Laura Bryant, Gilcrease Museum, 1400 N. Gilcrease Museum Road, Tulsa, OK 74127, telephone (918) 596-2747, email [email protected]. SUPPLEMENTARY INFORMATION: Notice is here given in accordance with the Native American Graves Protection and Repatriation Act (NAGPRA), 25 U.S.C.
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TERRY ADKINS Born 1953 Washington, D.C
TERRY ADKINS Born 1953 Washington, D.C. Died 2014 New York EDUCATION 1979 Master of Fine Arts, University of Kentucky, Lexington, Kentucky 1977 Master of Science, Illinois State University, Normal, Illinois 1975 Bachelor of Science, Fisk University, Nashville, Tennessee SOLO EXHIBITIONS 2018 Terry Adkins: Infinity Is Always Less Than One, Institute of Contemporary Art, Miami Terry Adkins: The Smooth, The Cut, and The Assembled, Lévy Gorvy, New York 2017 Projects 107: Lone Wolf Recital Corps, Museum of Modern Art, New York 2016 Soldier, Shepherd, Prophet, Martyr: Videos from 1998-2013, University Galleries, Illinois State University, Normal, IL 2013 Nenuphar, Salon 94 Bowery and Salon 94 Freemans, New York Recital, Mary & Leigh Block Museum of Art, Northwestern University, Evanston, IL 2012 Recital, Tang Museum, Skidmore College, Saratoga, NY The Principalities, Galerie Zidoun, Luxembourg 2010 Riddle of the Sphinx, Amistad Gallery, Philadelphia 2009 Meteor Stream, American Academy in Rome 2008 Songs of Hearth and Valor, Warehouse Gallery, Syracuse, NY 2007 Belted Bronze, Pageant Soloveev, Philadelphia 2005 Black Beethoven, Wheaton College, Norton, MA; Bronx River Art Center, Bronx, NY 2004 Black Beethoven, Pageant Soloveev, Philadelphia 2003 Towering Steep, Friede-Strauss Galleries, Dartmouth College, Hanover, NH Sanctuary, Eastern State Penitentiary, Philadelphia Darkwater, Arthur Ross Gallery, University of Pennsylvania, Philadelphia Facets, PPOW Gallery, New York 2001 Deeper Still, Samuel P. Harn Museum of Art, Gainesville, FL Songs
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Museum Alliance Reciprocal Membership
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New Jersey in Focus: the World War I Era 1910-1920
New Jersey in Focus: The World War I Era 1910-1920 Exhibit at the Monmouth County Library Headquarters 125 Symmes Drive Manalapan, New Jersey October 2015 Organized by The Monmouth County Archives Division of the Monmouth County Clerk Christine Giordano Hanlon Gary D. Saretzky, Curator Eugene Osovitz, Preparer Produced by the Monmouth County Archives 125 Symmes Drive Manalapan, NJ 07726 New Jersey in Focus: The World War I Era, 1910-1920 About one hundred years ago, during the 1910-1920 decade in America, the economy boomed and the Gross National Product more than doubled. Ten million Americans bought automobiles, most for the first time. Ford’s Model T, produced with then revolutionary assembly line methods, transformed family life for owners. Such personal “machines” led to paved roads and the first traffic light, reduced the need for blacksmiths and horses, increased the demand for auto mechanics and gas stations, and, when not caught up in traffic jams, sped up daily life. Some owners braved dirt roads to drive to the Jersey Shore, where thousands thronged to see the annual Baby Parade in Asbury Park. While roads at the start of the decade were barely adequate for travel in the emerging auto boom, New Jersey became a leader in the advocacy and construction of improved thoroughfares. Better road and rail transportation facilitated both industrial and agricultural production, bringing such new products as commercially grown blueberries from Whitesbog, New Jersey, to urban dwellers. In the air, history was made in 1912, when the first flight to deliver mail between two government post offices landed in South Amboy.
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Art Museum Digital Impact Evaluation Toolkit
Art Museum Digital Impact Evaluation Toolkit Developed by the Cleveland Museum of Art’s Office of Research & Evaluation in collaboration with Rockman et al thanks to a generous grant from the National Endowment for the Arts. 2018 Content INTRODUCTION ..........................................................2 01 VISITOR CONTEXT .....................................................3 Demographics ............................................................4 Motivations ..............................................................5 Visitation Frequency .......................................................6 02 CONTEXT OF THE DIGITAL EXPERIENCE ...................................7 Prior Digital Engagement ................................................... 8 Timing of Interactive Experience ..........................................9 03 VISITORS’ RELATIONSHIP WITH ART .....................................10 04 ATTITUDES AND IDEAS ABOUT ART MUSEUMS .............................12 Perceptions of the Art Museum ..............................................13 Perceptions of Digital Interactives ............................................14 05 OVERALL EXPERIENCE AND IMPACT ....................................15 06 AREAS FOR FURTHER EXPLORATION .....................................17 ABOUT THE CLEVELAND MUSEUM OF ART ...................................19 Introduction The Art Museum Digital Impact Evaluation Toolkit in which the experience was studied. The final (AMDIET) is intended to provide artmuseums and version of data collection instruments
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2013 Financial Statements and Report of Independent Accountants
GaryMcGee & Co. LLP CERTIFIED PUBLIC ACCOUNTANTS Portland Art Museum Financial Statements and Other Information as of and for the Years Ended June 30, 2013 and 2012 and Report of Independent Accountants P O R T L A N D A R T M U S E U M TABLE OF CONTENTS Page Report of the Treasurer 3 Report of Independent Accountants 4 Financial Statements: Statements of Financial Position 6 Statements of Activities 8 Statements of Cash Flows 10 Notes to Financial Statements 11 Supplementary Financial Information: Schedule of Operating Revenues and Expenses of the Northwest Film Center 30 Notes to Schedule of Operating Revenues and Expenses of the Northwest Film Center 31 Other Information: Governing Board and Management 32 Inquiries and Other Information 34 Report of the Treasurer The financial statements and other information con- The financial statements have been examined by the tained in this report have been prepared by manage- Museum’s independent accountants, GARY MCGEE & ment, which is responsible for the information’s integ- CO. LLP, whose report follows. Their examinations rity and objectivity. The financial statements have were made in accordance with generally accepted au- been prepared in accordance with generally accepted diting standards. The Audit Committee of the Board accounting principles applied on a consistent basis and of Trustees meets periodically with management and are deemed to present fairly the financial position of the independent accountants to review accounting, the PORTLAND ART MUSEUM and the changes in its net auditing, internal accounting controls, and financial assets and cash flows. Where necessary, management reporting matters, and to ensure that all responsibili- has made informed judgments and estimates of the ties are fulfilled with regard to the objectivity and in- outcome of events and transactions, with due consid- tegrity of the Museum’s financial statements.
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E. Heritage Health Index Participants
The Heritage Health Index Report E1 Appendix E—Heritage Health Index Participants* Alabama Morgan County Alabama Archives Air University Library National Voting Rights Museum Alabama Department of Archives and History Natural History Collections, University of South Alabama Supreme Court and State Law Library Alabama Alabama’s Constitution Village North Alabama Railroad Museum Aliceville Museum Inc. Palisades Park American Truck Historical Society Pelham Public Library Archaeological Resource Laboratory, Jacksonville Pond Spring–General Joseph Wheeler House State University Ruffner Mountain Nature Center Archaeology Laboratory, Auburn University Mont- South University Library gomery State Black Archives Research Center and Athens State University Library Museum Autauga-Prattville Public Library Troy State University Library Bay Minette Public Library Birmingham Botanical Society, Inc. Alaska Birmingham Public Library Alaska Division of Archives Bridgeport Public Library Alaska Historical Society Carrollton Public Library Alaska Native Language Center Center for Archaeological Studies, University of Alaska State Council on the Arts South Alabama Alaska State Museums Dauphin Island Sea Lab Estuarium Alutiiq Museum and Archaeological Repository Depot Museum, Inc. Anchorage Museum of History and Art Dismals Canyon Bethel Broadcasting, Inc. Earle A. Rainwater Memorial Library Copper Valley Historical Society Elton B. Stephens Library Elmendorf Air Force Base Museum Fendall Hall Herbarium, U.S. Department of Agriculture For- Freeman Cabin/Blountsville Historical Society est Service, Alaska Region Gaineswood Mansion Herbarium, University of Alaska Fairbanks Hale County Public Library Herbarium, University of Alaska Juneau Herbarium, Troy State University Historical Collections, Alaska State Library Herbarium, University of Alabama, Tuscaloosa Hoonah Cultural Center Historical Collections, Lister Hill Library of Katmai National Park and Preserve Health Sciences Kenai Peninsula College Library Huntington Botanical Garden Klondike Gold Rush National Historical Park J.
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Marshall Noice – Selected Exhibits
Marshall Noice – Selected Exhibits 2015 Hockaday Museum of Art, Kalispell, MT, one man show Waxlander Gallery, Santa Fe, NM, one man show Anne Loucks Gallery, Glencoe, IL, two man show Lanning Gallery, Sedona, AZ, one man show National Cowboy and Western Heritage Museum, group invitational show 2014 Booth Western Art Museum, Cartersville, GA, Western American Art South of The Sweet Tea Line IV, invitational group show Gilcrease Museum, Tulsa, OK, Collector’s Reserve, invitational group show CODA Gallery, Palm Desert, CA, Exploring The Landscape of Color invitational group show 2013 Lustre Gallery, Telluride , CO, one man show Wells Gallery, Kiawah, SC, invitational group show M.A. Doran Gallery, Tulsa, OK, one man show National Cowboy and Western Heritage Museum, group invitational show Waxlander Gallery, Santa Fe, NM, one man show 2012 Waxlander Gallery, Santa Fe, NM, one man show Lustre Gallery, Telluride, CO, one man show Merritt Gallery, Chevy Chase, MD, invitational group show Bill Hester Fine Art, Chapel Hill, NC, one man show 2011 Altamira Fine Art, Jackson, WY, one man show Gilcrease Museum, Tulsa, OK Collector’s Reserve, invitational show The Art of Conservation, Jackson, WY, invitational show Terzian Galleries, Park City, UT, one man show National Cowboy and Western Heritage Museum, Small Works Great Wonders Oklahoma City, OK, invitational show Anne Loucks Gallery, Glencoe, IL, one man show 2010 Collector’s Reserve, Gilcrease Museum, Tulsa OK invitational show Waxlander Gallery, Santa Fe, NM, one man show 2009 Art Feast, Santa Fe , NM, featured artist Waxlander Gallery, Santa Fe, NM, one man show American Art in Miniature, Gilcrease Museum, Tulsa, OK invitational show 2008 Western American Art South of the Sweet Tea Line II, Booth Western Art Museum,Cartersville, GA, group invitational show Sun Valley Contemporary, Ketchum, ID, one man show Waxlander Gallery, Santa Fe, NM, one man show Center Street Gallery, Jackson, WY, one man show M.A.
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Schedule of Exhibitions and Events
•^f he Museum of Modern Art No. 1^? FOR IMMEDIATE RELEASE V^/est 53 Street, New York, N.Y. 10019 Tel. 245-3200 Cable; Modernart February 1, I969 SCHEDULE OF EXHIBITIONS AND EVENTS Note: Full releases and photographs on each exhibition available from Elizabeth Shaw^ Director, Department of Public Information. HOURS: ADMISSION: Weekdays: 11 a.m.-6 p.m. Adults: $1.50 Thursdays: 11 a.m.-9 p.m. Children: 75 cents Sundays: 12 noon-6 p.m. Members: Free LINCOLN'S BIRTHDAY (Feb. 12): 11 a.m.-6 p.m. Group rates on request WASHINGTON'S BIRTHDAY (Feb. 22): 11 a.m.-6 p.m. THURSDAY LECTURES AT NOON. No extra admission charge. Museum Auditorium. February 6 The Machine* Jennifer Licht, Associate Curator, Department of Painting and Sculpture, The Museum of Modern Art. February 20 Julio Gonzalez. Josephine Withers, Temple University, Philadelphia. EVENING LECTURE Tuesday, The Architect and the Natural Environment. A symposium presented by the February 25 New York Chapter of the American Institute of Architects, and the Depart 8:30 p.m. ment of Architecture and Design of The Museum of Modern Art. Moderator: William H. I'Jhyte, author of "The Last Landscape." Panelists: Dr. Barry Commoner, Professor, Washington University, St. Louis, author of "The Science of Survival." Ian Nairn, editor, "Architectural Review" (London), author of "American Landscape." Nathaniel Owings, architect, Skidmore, Owings& Merrill. Admission: $3.00 (Members $2.00). Museum Auditorium. .EXHIBITIONS Through THE MUSEUM COLLECTIONS. Moro than 1200 works on view in the painting and out the sculpture galleries on the 2nd and 3rd floors, Main Hall, outdoor Sculpture year Garden, Philip L.
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Southeastern Reciprocal Membership Program
SOUTHEASTERN RECIPROCAL MEMBERSHIP PROGRAM Upon presentation of your membership card you will receive: Free admission at all times during museum hours. The same discount in the gift shop and café as those offered to members of that museum. The same discount on purchases made on the premises for concert and lecture tickets, as those offered to members of that museum. Reciprocal privileges do not include receiving mailings from any of the participating museums except for the museum with which the member is affiliated. Note: List subject to change without notice. Museums may temporarily suspend reciprocal program during special exhibitions. Some museums do not accept SERM from other local museums. Call before you go. ALABAMA Augusta Museum of History – Augusta Greensboro Birmingham Museum of Art -- Birmingham Bartow History Museum – Cartersville Greenville Museum of Art – Greenville Carnegie Visual Arts Center -- Decatur Columbus Museum – Columbus Hickory Museum of Art -- Hickory Huntsville Museum of Art – Huntsville Georgia Museum of Art – Athens Mint Museum, Randolph -- Charlotte Jule Collins Smith Museum of Fine Art at Auburn -- Marietta Museum of History – Marietta Mint Museum Uptown – Charlotte Auburn Morris Museum of Art – Augusta Waterworks Visual Art Center – Salisbury Mobile Museum of Art – Mobile Museum of Arts & Sciences – Macon Weatherspoon Art Museum – Greensboro Montgomery Museum of Fine Arts – Montgomery Museum of Design Atlanta – Atlanta Reynolda House Museum of American Art – Winston Wiregrass Museum of Art – Dothan
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