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Portland Art Museum

The Kids are Alright.

“Education is not the filling of a pail, but the lighting of a fire. For the mind does not require filling like a bottle, but rather, like wood, it only requires kindling to create in it an impulse to think independently and an ardent desire for the truth.— Plutarch (often misquoted as William Butler Yeats.)

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Finally, finally I made it to the Portland Art Museum, recently reopened after extensive architectural additions. I had heard nothing but positive reports about the ways two existing buildings are now connected by a glass pavilion. Can confirm that the design and execution, carried by a millions-of-dollars fund raising campaign, really work. Nothing glossy or ostentatious about them, overall functional and, from some perspectives, beautiful. A detailed account of the project can be found in my Oregon ArtsWatch colleague Brian Libby’s interview of the architects here.

I had not come for the novelty, though. Nor the David Hockney: Works from the Collection of Jordan D. Schnitzer and His Family Foundation. exhibition – I was never a fan. Or the Rick Bartow exhibition – with few exceptions, not my cup of tea. (Probably heresy to admit that in this town.)

My visit led me to the basement, or what is officially called the lower level of the North Wing. I wanted to explore the HeART of Portland Visual Art Exhibition, featuring over 100 works of students in our public schools, from Kindergarten to 12th grade, and a collaborative art project, Windows of Our Future, inspired by the Museum’s new Rothko Pavilion and the Hockney exhibition. I had read about the Museum’s vision to strengthen its youth and community outreach, investing in more education, and making space for programs in the revamped buildings. What a terrific development, particularly in economically distressed times where art education is one of the first things to be on the chopping block.

For the 2026 youth exhibition, every visual arts teacher in town was invited to pick one student’s work from their respective classes. In addition, some 2500 kids worked on the Windows of Our Future project, covering a glass wall of the remodeled Lana and Chris Finley Learning Studio.

Art ranged from works on paper – drawings, painting, prints, photography – to fabric art, collages, mobiles and sculptural exploration.

Must have been a bear to hang – and was beautifully done so! Hats off to whoever had to tackle works by an age range of 5 to 16 or so years, differing degrees of talent, – some impressive, others compensated by remarkable enthusiasm, and subject matters ranging all over the map.

Each piece was offered with information, provided either by the teacher or the student themselves. Very helpful for those of us no longer adjacent to art education, with kids long gone. I found the thought processes of the students almost as fascinating as the levels of sophistication exhibited in some of the works themselves.

One can debate whether this is a representative sample – after all the professional art teachers selected likely the best of the year’s output – but does that really matter? What convinced here was the freshness, the passion that kids put into their work, the insights into curricula that introduce many different forms of art and artists as a starting point for the students to find their own voice.

What impressed were multiple references, by teachers and students alike, to the importance of process, of exploration rather than insistence on perfect outcomes. Some of the works carried a sense of wonder, sometimes about the world, sometimes about the artist’s own capacity to pull something off to their liking.

I felt wonder, that’s for sure, being in the presence of so much imagination, creativity and conceptual ideas. In short: in the presence of art, embraced by a generation of young people ready to launch their talents into the world.

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I had some time left and skimmed through the current photography exhibition, Together, a theme focussed on communal actions and relations. As per usual, the selections from the archives, including recent acquisitions, were soundly and predictably curated. Once, just once, I would like to be surprised, though, by what is included, or who is left out up there. (Speaking of surprise (and I digress): the 2026 Artists’ Biennial: The Price of the Ticket at Oregon Contemporary holds some serious eye openers. Ox is only open on the weekends, but I highly recommend planning a visit.)

Simone Leigh Sentinel IV (Gold) (2021)

Walking back to the entry level, I passed through Here we Are, smartly chosen works of contemporary art from the museum’s collection. It was poignant to read curator Sara Krajewski’s helpful outlines of thematic subjects of these accomplished adult artists, some of them quite famous. Many themes completely echoed what I had seen an hour earlier in the students’ works: “sense of self and identity“,  “relationships to place,” “the human connection and the creative process.” Confirmation that some foundational and universal issues forever work their way into art, regardless the age (or stage) of the artist.

Carrie Mae Weems Painting the Town #1 (2021)

William Kentridge Dancing Couple (2003)

Then again, everything here was quite big in contrast to the students’ ability to pull some punches with small-sized formats.

Elias Sime Tightrope: Eyes and Ears of the Bat (1) (2020) Reclaimed electrical wires on wood.

And not a full critter in sight (unless I missed it) – in contrast to the fascination expressed in the younger students’ offerings. So many animals, so many versions. I wonder if something gets lost on the way by growing up, and a preoccupation with fauna labels you in some ways. Come to think of it, equine depictions wended their way through art history, from the paintings of aristocrats’ steeds to the horses of August Macke. Not all had to be “Monarch of the Glen”-type roaring stags, or the sweet avians of the Dutch Golden Age. Rousseau’s jungle creatures, or Picasso’s bulls anchor us in the recent past. So maybe I am just picking up a coincidental lack of representations, in no way typical for adult artists?

Paul Klee, move over…..

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A photograph by Wolfgang Tillmans dominated a wall. His abstract work is done without a camera – he uses chemical solutions on different papers and exposes them to light waves, sometimes manipulating the canvas in the process. During a retrospective of his work at MoMa 4 years ago, he was compared to a genius by Peter Schjeldahl in the New Yorker, and every other critic, trying to find superlatives from brilliant to extraordinarily gifted, joined the chorus. I happen to agree, the man is a phenomenon with the camera. In fact, a postcard of one of his photographs has been hanging forever on that sacred space reserved for portraits of grandchildren, a.k.a. our fridge. A constant reminder of what to aspire to, in front of my eyes on a daily basis.

Wolfgang Tillmans Greifbar 50 (2017)

Yet I also concur with critics’ cautiously uttered sentiments, that his abstract work is less impressive than his representative photographs, although I would not go as far as to say they belong into the lobby of boutique hotels, as more belligerent voices suggested.

I think one of the problems about the abstract works is the fact that important pointers contained in the titles get lost in translation. Look, for example, at the signage for the PAM acquisition of Greifbar 50 (2017).

It talks about free style swimming, and a gay bar in Berlin by the name of Greifbar, a pun on fondling opportunities at a bar. (The bar at Prenzlauer Berg happens to have closed its doors permanently after the Covid pandemic, one of the last joints that offered pornographic films in the front room and a dark room in the back notorious for wild nights, open sex and a leather scene.)

Greifbar, however, also means “within reach,” a desired goal or object about to be on hand.

The term ultimately only makes sense in the context of the name of the series of abstracts Tillmans has been exploring. The series is called FREISCHWIMMER, which has nothing to do with free style swimming. Instead, it refers to one of the most coveted items of a German childhood, a badge received after passing a municipal swim test. Success required 15 minutes in the water with breast stroke and back stroke, diving for an object at 2 meter depth, jumping into the water from a certain height and answering some water safety questions. Once you had that piece of fabric in your hand (often in the form of a little seahorse to be sewn onto your bathing suit,) you were allowed to enter public pools on your own and swim there without adult supervision. Freedom beckoned!

We would spend endless summer days with friends at the pool, prepubescent or just entering puberty. During the 60s and 70s, long before the internet and TV offered plenty of nudity, it was a place to see people in various stages of undress, to touch each other surreptitiously in the crowded water. We would lie on closely spaced towels in the meadows around the pool, apply coconut oil to each other’s skins, and watch people disappearing behind the public rest- or changing rooms, for what we could only wildly guess at at the time, where “kissing” was the height of illicit behavior (I earned my Freischwimmer badge at the age of 10.) We would feel our bodies cooled by the wind when biking back home late afternoons all those years, damp swimsuit under cotton dresses. It was utterly physical, it was fluid in terms of developing an understanding of our own sexuality, straight or gay, it was a taste of independence, a new stage of life, freer, more agentic, adulthood with its assumed perks seemingly within reach.

I can see how Tillmans, a master of representative depiction, yearns to find new independence in an abstract medium. I can see the seduction of exploring new ways of expression that might potentially recreate the sense of discovery of who we are and what we can pull off, reliving younger ages when the world was still seemingly open. I can also speculate about the acknowledgement provided by hindsight, that much of what developed in us was caused by elements of chance, now reproduced with the processes he uses to generate these enormous abstracts. So many possible interpretations, but free style swimming not among them.

***

Serendipity ruled when I left the museum, ready for one last shot capturing Ugo Rondinone’s sculpture at the 10th Ave exit. The Sun encircled a school bus, a golden halo surrounding a stand-in for education. More power to PAM, fostering new generations, instructing them in the making or experiencing of art, kindling independent thinking and creativity. I very much hope that stamina and/or funds are sufficient to succeed with their goals. It would be to the benefit of all of us.

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Artist for the title image:

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Songs from the Congo

· Black Artists of Oregon/Africa Fashion at Portland Art Museum ·

““I am black; I am in total fusion with the world, in sympathetic affinity with the earth, losing my id in the heart of the cosmos — and the white man, however intelligent he may be, is incapable of understanding Louis Armstrong or songs from the Congo.”

– Franz Fanon Black Skin White Masks, 1952

Last week I visited Africa Fashion and Black Artists of Oregon at the Portland Art Museum, downstairs and upstairs in the main building, respectively. Downstairs was empty, upstairs was jumping, middle of a weekday, for a show that has been open since September. I started my rounds on top and my eye was immediately caught by a group of young women motionless, except for their heads.

What were they staring at? Bent over, studying, then four heads lifting in unison, looking at each other, then bending again, back and forth, like a silent dance. Once the young women left, I walked over to see for myself and found this:

damali ayo Rent a Negro.com (2003) You can listen to the artist explain the evolution of this work here.

What reaction would an interactive piece like this, riffing on the commodification and objectification of Black labor, elicit in high school students who are most likely not (yet) too familiar with conceptual art? One of the first satirical pieces of internet art, damali ayo‘s Rent-a-Negro is an ingenious take on the system that has progressed from purchasing and owning the Black body to leasing it (although prison labor needs to be considered a form of slavery, if you ask me,) to using token Blacks to satisfy demands for “diversity.” How would it be processed by the Black high-schoolers in contrast to those like me, old White folk? Rage and revulsion by those whose ancestors were subjected to exploitation and oppression, ongoing even? Shame and sorrow by those whose forbears might have wielded the whip and ran the auctions, with patterns of discrimination not a thing of the past?

Julian V.L. Gaines Painfully Positive (2021)

Ray Eaglin Maid in USA (1990)

Fanon’s insight that someone like me will not be able to understand certain forms of art as they would be by those from whom it originates, popped up in my head with urgency. And this leads to one of the elephants in the room that needs to get aired: how does a White woman review exhibitions of Black art with the depth and understanding they deserve, while aware that the racial, potentially distorting, lens cannot be abandoned? It is naive, bordering on ignorant, to assume that art can be seen, understood, felt in some neutral fashion, when our implicit stereotypes guide our interpretations, and when our lack of knowledge specific to the history of a community affects our comprehension.

Tammy Jo Wilson She became the Seed (2021)

Al Goldsby Looking West (ca. 1970)

Furthermore, any reviewer aware of their implicit biases and wishing to be an ally to those who are burdened with historical or ongoing discrimination, will walk on eggshells. You want to avoid harsh criticism, or piling onto stereotypes, or being overly deferential, despite all of that being already a form of unequal treatment, born from awareness of culture constructed around race. You so want to avoid putting your foot in your mouth and appear arrogant.

Or racist.

Thelma Johnson Streat Monster the Whale (1940)

Mark Little Despondent (1991)

Isaka Shamsud- Din Land of the Empire Builder (2019)

I vividly remember a lecture I gave about the psychology of racism on invitation by PAM in the context of a Carrie Mae Weems exhibition over a decade ago. I talked about the Implicit Associations Test – IAT –  the psychological measure that confirms how many of us hold stereotypical assumptions associated with racism. It is a test that looks at the strength of associations between concepts and even the most liberal takers have gasped at their scores.  Mind you, it does not mean you are a racist; it just tells us that we have all learned associations between concepts that involve stereotypes associated with Blacks. Some in the audience erupted in anger, astute, educated, intelligent docents among them. That could not be true! They fought against racism all their lives! I clearly failed in getting the point across: there is a difference between consciously acting on your stereotypes and unconsciously being affected by them. But even the latter was denied by these well-meaning citizens.

Jason Hill Lion King (2019)

In any case, one can have read brilliant work like Franz Fanon’s about the Black psyche in a White world, racial differences, revolutionary struggle and the effects of colonialism until the cows come home, it will not ease the task of reviewing exhibitions like the one currently on view. Not that that has kept me from doing so, most recently with Dawoud Bey and Carrie Mae Weems in Dialogue at the Getty and Red Thread/Green Earth which showed work of several members of the Abioto family at the Patricia Reser Center for the Arts.

But it has made me aware of how much I already censor in my head, how worried I am about the reception of my takes, and the damage they could do, how my approach to work are colored by the political context, something that would not happen if I just walked into any old show of a collection of artists, race unknown.

Ralph Chessé The Black Women Work (1921)

Bobby Fouther Study in Black (2023)

***

The current exhibition was curated by Intisar Abioto after years of research into the spectrum of Black artists in Oregon, some famous, some locally known, some hidden in the embrace of their community. She put together a remarkable show, and her line of thinking as well as the expanse of the art is fully explained in a in-depth review by my ArtsWatch colleague Laurel Reed Pavic, who talked to the curator and listened to her podcasts about the exhibition. (You can listen to the podcasts yourself – they range from general introduction to a number of interviews with individual participating artists.)

My first association to the upstairs show was the contrast to what is exhibited downstairs, African Fashion. Previously shown at London’s Victoria and Albert Museum and the Brooklyn Museum, the latter was hailed as a vital and necessary exhibition by eminent art critics. It felt to me, however, like one of those luxury fruit baskets filled with luscious and exotic goods, wrapped in cellophane with a glittery bow – something that often does not live up to its visual promise when you are actually starting to peel the fruit.

Contrast that with the show upstairs: like a farm-to-table box dropped off at your doorstep, stuffed to the brim, packed to overflowing, with produce you sometimes don’t even recognize, but all locally grown and, most importantly, invariably, truly nourishing.

Katherine Pennington Busstop II (2023)

Latoya Lovely Neon Woman (2019)

Packed is the operative word here, 69 artists and over 200 objects, sorted into categories like “expanse, gathering, collective liberating, inheritance, collective presence, and definitions. The art is competing for space, focus, time and attention, with those limited resources not meeting demand. I assume it was a conscious curatorial decision. If you have, finally, a public space willing to open up to a neglected or even excluded collective of artists (collective in the sense of a shared history rather than a shared goal,) you might as well grab the opportunity and allow every one in the community a shot. This is particularly true when you don’t know what the future holds and which opportunities emerge in times where the racial justice backlash is raising its ugly head ever more prominently. Yet you do early-career artists, no matter how promising, no favor when placing them among the hard hitters.

Henry Frison African Prince (1976-79) with details

Alternatively, the inclusion of so many art works might have been a conscious attempt to demonstrate the diversity that is offered by a community long segregated from traditional art venues, never mind neighborhoods. It might be an attempt to shift what psychologists call the outgroup homogeneity bias, our tendency to assume that attitudes, values, personality traits, and other characteristics are more alike for outgroup members than ingroup members. “They are all the same! Know one, you know them all!” As a result, outgroup members are at risk of being seen as interchangeable or expendable, and they are more likely to be stereotyped. This perception of sameness holds true regardless of whether the outgroup is another race, religion, nationality, and so on.

That bias certainly affects what we expect (particularly, when our expectations are driven by other cognitive biases as well.) Our unconscious expectation of less diversity in the creative expressions of the art were certainly put in doubt with the plethora of work put up by Abioto. In confirmation of the bias – and thus the value of her curatorial decisions – I certainly caught myself regularly looking for a common thread of political statements, however indirect, commenting on the experience of being Black in Oregon, a notoriously racist state.

MOsley WOtta Baba was a Black Sheep (2023)

The history can be found here in detail. Simply put, Oregon had not one but three separate Black exclusion laws anchored in the Oregon Constitution and it took until 2001 to scrap the last bit of discriminatory language from the records.

We are one of the nation’s whitest states, and had at some point the highest Ku Klux Klan membership numbers nationally. Of our 4.2 million Oregon residents only about 6% are Black, and many of these have been displaced within the state over and over again, making room for construction projects and/or gentrification of neighborhoods. Nonetheless, Black leadership and organizations providing support for education, including the arts, are resilient and effective. (A recently updated essay by S. Renee Mitchell provides a thorough introduction to these achievements. Another informative article about Black pioneers can be found here.)

Arvie Smith Strange Fruit (1992) Detail below

Much of the art reflects the history, referencing the pain and injustice of lived as well as inherited experience. But there were also pieces that simply depicted beauty, documented landscape, revered what is. No message necessary or intended. It is a conversation I would love to have about all art, at this moment in time, how our ability and willingness to make art outside the need to bear witness, or instruct, or frighten, or alert to social change needed, is obstructed by multiple internal and external forces – but that has to wait for another time.

Sadé DuBoise Collective Mourn (2023) with detail

For this exhibition there was more art on display than could possibly be processed during a single visit. But all of it was nourishing, even in passing, as I tried to express in my initial description – food for thought, yes, as well as a feast for the eyes.

Natalie Ball Mapping Coyote Black, June 12 and 13, 1987 (2015)

Natalie Ball Mapping Coyote Black , June 12 and 13, 1872 (2015) (Artist new to me, enchanted by the work.)

I felt at times as if I was, if not an invited, surely a tolerated guest at a family reunion – meeting of long lost friends and relatives, happy to run into each other, artists introducing each other. It was a vivid, social experience during a time where I am still socially isolated due to the pandemic, even if I was standing double-masked at the margins, observing so many people truly engaging with art, potentially new to them. Twice (!) I was asked to take photographs of people who had met at the museum by chance and talked to each other in front of this or that piece.

I left the museum more hopeful than after any of the recent shows I’ve been reviewing (and the last year included some real winners!). The vibrancy of the work on the walls and the liveliness, even giddiness of the social interactions of many visiting generations all conveyed a sense of resilience and optimism that somehow rubbed off onto me. I might not get the songs of the Congo, but I do have an inkling, provided by this exhibition, of what local Black art stands for: a community that refuses to let go of history, no matter how painful. A community that believes in a more just tomorrow as well, forever willing to fight for it, no matter how hard that is made by the rest of us. A community standing its ground, with art that reflects that strength.

Ralph Chessé Family Portrait (1944)

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The Map is not the Territory

I do get a kick out of visiting art exhibits with my octogenarian painter friend – sometimes grumpy, often funny, never boring and always, always good for some revelations about art. Yesterday we did have a blast again, wandering through the halls of the Portland Art Museum, exploring its newest exhibit: the map is not the territory.

The exhibit, celebrating, in the widest sense, regional art, was put on by the new (2017) PAM curator of Northwest art, Grace Kook-Anderson. Despite some occasional misgivings, I was sold on her vision after finishing the rounds of exhibition halls. There was enough substance that it was easy to put aside what my friend sometimes calls “the exploitation of human tragedy for the production of trendy conceptual art.” The curatorial display decisions were strong, some individual art works truly stood out, and the whole of it radiated cohesion. It taught, and it moved.

Charlene Vickers Turtle Clan, part of the installation Ominjimendaan/to remember

A detailed description of Kook-Anderson’s curatorial philosophy and the coming together of a group of diverse and diversely talented artists can be found in an in-depth review by Laurel Reed Pavic here: https://www.orartswatch.org/the-map-is-not-the-territory-whose-border-is-it/

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It is a mystery to me how a curator can make limited choices when there is an abundance of good work to choose from. I’ve talked about that previously here:

https://www.orartswatch.org/art-on-the-road-au-naturel-astoria/

Mistaken cramming is often the result – none of that at this show. The works had space to breathe and the range of mediums used did not interfere with each other. I found the juxtaposition of natural materials (fish skins, wood, etc.)

Annette Bellamy Out of Water
Fish skin and artificial sinew
(Background installation)

and/or concrete natural forms with man-made or even machine-made abstractions thought-provoking. Weight was given to artistic expressions of native American peoples’ losses, strengths, collective memory and contemporary struggle – a fitting decision given centuries of willful ignorance or suppression.

Charlene Vickers Sleep Walking
Moccasins, beer case cardboard, thread, synthetic twine, glass bead, letter beads, faux fur, denim. cotton fabric, 1920s bedroom chairs, wool blankets, acrylic knit blankets, assorted mixed media and found photo works.

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The first of my favorite two pieces was Annette Bellamy’s Moving Mountains. The work is luminous and suggests that defying gravity is possible, after all. The contrast of seemingly heavy stones and boulders (stoneware, presumably hollow) and a sense of ascending lightness proved nothing but up-lifting. The lines from which the individual objects are suspended become part of the installation, suggesting falling rain at the same time that optically there is a sense of upward motion. The shadows seem to shift as something existing independently. The installation moved me, deeply, although I suspect that was not the “moving” referenced in the title.



Annette Bellamy Moving Mountains
Stoneware, UV resistant line, steel pins, epoxy.

The second work, slipstream (by the light of the moon) was a gouache/ink drawing on black clayboard by Mary Ann Peters. It, too, had a mesmerizing quality, inviting thoughts about watery surfaces. Funnily enough, it reminded me of one of those Rohrschach inkblot tests used by clinicians of yore as a psychodiagnostic tool – long debunked. Peters’ projective plane seemed to contain the mirror images displayed in those test stimuli, but of course, on closer inspection, defied that expectation. Smartly done, thought provoking.

Mary Ann Peters Slipstream (by the light of the moon)
Gouache/Ink on black clayboard.

This was also the artist who apparently suggested the title of the exhibition, derived from Alfred Korzybski’s major publication: Science and Sanity: An Introduction to Non-Aristotelian Systems and General Semantics (1948.) The actual quote is longer: “The map is not the landscape, but if the map is similar to the structure of the landscape, it is useful“ which suggests a bit more than the general assumption that he referred only to the essential distinction between an object and its representation—or, more broadly, between our beliefs and the underlying reality.

Korzybski was trained as an engineer in Poland; he later developed a theory called General Semantics (GS) that he taught and wrote about here in the US. He had quite a bit of a following, many science fiction writers among them, and reached something akin to cult status mid-century. Most notably, he is considered linked to Scientology and in fact long passages of Dianetics by L. Ron Hubbard borrow from GS and the conceptual road-map laid out in Science and Sanity. Among early GS critics in the field of psychology and linguistics was Martin Gardner, who wrote a flaming rebuke in Fads and Fallacies In the Name of Science (1952.) More recent criticism has come from both Noam Chomsky and later Steven Pinker. In fact the latter’s book The Language Instinct (1994) has a whole chapter debunking Korzybski and his predecessors Sapir and Whorf.

Rob Rhee Marginalia
Alginate plaster, acrylic, construction adhesive, gourd sherds.

Ok, enough of a detour – I’ll take off my cognitive-psychologist-hat and put back on the one devoted to art. If the map is not the territory then the quote is not a mirror of an underlying dead-end theory. It is instead a suitable guide for what this thoughtful exhibit references: regional issues, across time, tackled by inquisitive artists and a curator with vision, making borders apparent and inviting us to examine the history of the land.


Music today in honor of maps: Kaija Saariaho’s Circle Map: https://www.youtube.com/watch?v=OPnNZydMYEI

Photographs are from the exhibit – many more works to be seen there, I had limited space, obviously.

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