Pink Martini photo by Chris Hornbecker.

Paige Powell: The Ride
Still from The Ride, 2015, 3-channel color digital projection; 18:42 min., Image courtesy of the artist.

Kenny Scharf, Cosmic Cavern. Courtesy Honor Fraser Gallery. Photo Joshua White/
Kenny Scharf, Cosmic Cavern. Courtesy Honor Fraser Gallery. Photo Joshua

Pink Martini performs at Paige Powell opening November 4

We’re thrilled to announce an opening reception on November 4 for Paige Powell: The Ride, featuring performances by special guest Pink Martini. Visitors will enjoy special preview access to Paige Powell’s multimedia installation and be immersed in the 1980s New York art scene of Andy Warhol, Jean-Michel Basquiat, and Kenny Scharf.

Party-goers will also preview a companion exhibition of Scharf’s installation Cosmic Cavern, which immerses viewers in a day-glo universe densely packed with graffiti tags, detritus, and everyday objects reimagined as cartoon personalities. Both Paige Powell: The Ride and Kenny Scharf: Cosmic Cavern will be on view to the public from November 5, 2015, through February 21, 2016.

Portland native Powell is a native a longtime friend of Pink Martini bandleader Thomas Lauderdale, whose “little orchestra” appears at the Museum fresh off its European tour. The beloved Portland ensemble will keep the opening party hopping with an evening of globe-trotting, genre-crossing music and dancing in the Kridel Grand Ballroom, transporting listeners to the middle of a samba parade in Rio de Janeiro, a French music hall in the 1930s, or a palazzo in Napoli.

6 – 9:30 p.m. Wednesday, November 4. Doors open at 5:30 p.m. Tickets to the opening reception on November 4 are $40 and available online in limited quantity until sold out. No-host bar and food. Sorry, we are unable to take phone orders for tickets. All purchases are final. No refunds or exchanges.

Purchase tickets


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Living Together, Working Together: Édouard Vuillard and His Mother @ Online

Register on Zoom and watch on Facebook Live

Vuillard’s mother, Madame Marie Vuillard, was a constant in her son’s life and in his art. More than five hundred paintings in which she is depicted, made over a period of four decades, are testament to this. Vuillard and his mother shared a series of modest rented apartments, a Parisian co-habitation lasting until her death in 1928. In these rooms Vuillard and Madame Vuillard operated mutually supportive, parallel working practices: Vuillard put his mother and her small sewing business ‘in the picture’, while she posed for his pencil and camera or printed his photographs. In this lecture, Dr. Francesca Berry will foreground the substance of Madame Vuillard’s role in the practical undertaking of her son’s art, whether that was as model, technician, advisor, financier or servant.  Berry will argue that, together, Vuillard and his mother brought a petit-bourgeois woman’s experience of domesticity into visibility as a complex, alternative motif to the domesticated femininity otherwise favoured by the Nabis.

Dr Francesca Berry is Senior Lecturer in the Department of Art History, Curating and Visual Studies at the University of Birmingham. Before joining Birmingham in 2005, Francesca studied for her undergraduate and postgraduate degrees at University College London. She proceeded to a Postdoctoral Research Fellowship at the Royal College of Art and Victoria & Albert Museum. Francesca is currently chair of the editorial group of the Oxford Art Journal and has served on its board since 2010. Francesca specialises in interior and domestic space in French modernist art, visual culture and design, particularly from a feminist perspective, and has published many articles in this field. She was curator of the Barber Institute of Fine Arts’ 2018-19 ‘Maman: Vuillard and Madame Vuillard’ exhibition and co-author of its catalogue. Francesca is currently writing a book, contracted to Bloomsbury Academic, entitled Édouard Vuillard and the Nabis: Art and the Politics of Domesticity.

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Join on Zoom

Printmaking in 1890s Paris: Auguste Clot and the Nabis
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Printmaking in 1890s Paris: Auguste Clot and the Nabis @ Online

Register on Zoom or watch on Facebook Live

In fin-de-siècle Paris, the Nabis turned to the medium of color lithography to explore new modes of expression. This practice, however, was technically complex and thus required the involvement and expertise of master printer Auguste Clot. This lecture examines Clot’s collaboration with the Nabis and the printer’s significant role in the production of their avant-garde prints.  

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