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

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

 

Related Events:

Dec
5
Sun
Living Together, Working Together: Édouard Vuillard and His Mother
Dec 5 @ 2:00 pm – 3:30 pm
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.

Dec
16
Thu
Artful Meditation
Dec 16 @ 12:00 pm – 12:45 pm

Join Portland Art Museum docents for a slow looking and art focused meditation experience. This interactive virtual tour invites you to relax, rejuvenate, energize and to try and find a moment of calm. Come along as we connect and create space together for a deeper understanding of artworks on view at the museum.

This program is free and will be presented on Zoom. Closed Captioning will be available.

Join on Zoom

Jan
13
Thu
Printmaking in 1890s Paris: Auguste Clot and the Nabis
Jan 13 @ 5:30 pm – 7:00 pm
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.  

Natalia Lauricella is a Postdoctoral Teaching Fellow in the Department of Art & Art History at Stanford University. Her research focuses on the history of print, modern art, process, and labor, particularly in nineteenth-century Europe. She received her PhD in Art History from the University of Southern California. Her current project traces the network of dealer-publishers, printers, and artists who produced and marketed limited edition original color lithographs as part of the development of modern art and the art market in 1890s France. Focusing on the technical and creative role of master printers, this work recasts the history of modern art through the lens of artisanal labor, artistic process, and collaboration. Research for this project has been supported by a Fulbright grant to France, the Borchard Foundation, the Visual Studies Research Institute at USC, and USC’s Department of Art History. Prior to pursuing her PhD, Natalia worked as a curatorial assistant of collections and exhibitions at the Solomon R. Guggenheim Museum in New York and contributed to a number of exhibitions including Italian Futurism, 1909–1944: Reconstructing the Universe (2014), Agnes Martin (2016), and Mystical Symbolism: The Salon de la Rose+Croix in Paris, 1892–1897 (2017).