Calendar

In place of the Duwamish Annual Gala we are hosting an Online Native Art Auction. Bidding begins November 10th and concluded November 30th at 9pm.

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

New Mexico may have the Sant Fe Indian Market, but Indigenize Productions has the Seattle Gay NDN Market! On Nov 30th, the end of Native Heritage Month, and Just in time for the Holidays, we are bringing together a bunch of lovely Indigenous vendors for you to check out at Cafe Racer, 12pm-6pm! All ages!

The annual event, Silverton Christmas Market, offers a joyous and magical holiday experience for all ages. Stroll along immersive paths draped in more than one million lights. Explore our authentic German Christmas Market for gifts from artisan vendors and imported German nutcrackers, smokers and ornaments. Visit Santa to share your wish list or enjoy music and a brew in the Biergarten, presented by Western Beverage. Cozy up to a wood-burning fire pit or take a ride down the snowless tubing hill. There will be no ice skating this year.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Gallery Hours: Monday – Friday 12:00 PM – 6:00 PM

Opening reception: Friday, November 11th 6:00 PM – 7:30 PM

Artist Talk: Saturday, November 19th 5:00 PM – 6:30 PM

Artist and Curator Selena Kearney, in collaboration with the Paimārire Studio on the Native Art Campus of The Evergreen State College, presents Coast Salish wool weavers and their processes. Ceremonial Coast Salish weavings offer protection for the wearer and exist in both the spirit and human worlds. Weavers bring thoughts of care and devotion to the loom as they produce their works. This exhibition of Coast Salish weavings highlights the stories and kinship embedded in the art form focused on strengthening bonds and helping others.

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

PassinArt: A Theatre Company presents Black Nativity by poet and playwright Langston Hughes. Based on the traditional Nativity story, the spirit-filled, inspiring gospel song play features traditional Christmas carols performed in a gospel style with a few new songs specifically for the show.

The annual event, Silverton Christmas Market, offers a joyous and magical holiday experience for all ages. Stroll along immersive paths draped in more than one million lights. Explore our authentic German Christmas Market for gifts from artisan vendors and imported German nutcrackers, smokers and ornaments. Visit Santa to share your wish list or enjoy music and a brew in the Biergarten, presented by Western Beverage. Cozy up to a wood-burning fire pit or take a ride down the snowless tubing hill. There will be no ice skating this year.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Gallery Hours: Monday – Friday 12:00 PM – 6:00 PM

Opening reception: Friday, November 11th 6:00 PM – 7:30 PM

Artist Talk: Saturday, November 19th 5:00 PM – 6:30 PM

Artist and Curator Selena Kearney, in collaboration with the Paimārire Studio on the Native Art Campus of The Evergreen State College, presents Coast Salish wool weavers and their processes. Ceremonial Coast Salish weavings offer protection for the wearer and exist in both the spirit and human worlds. Weavers bring thoughts of care and devotion to the loom as they produce their works. This exhibition of Coast Salish weavings highlights the stories and kinship embedded in the art form focused on strengthening bonds and helping others.

The event will include showings of The Woman King a film about strong, black female warriors which was chosen to honor the legacy of a strong, black female warrior for the Black community in Spokane — Sandy Williams. The event will also include an accompanying silent auction with a plethora of wonderful items which will be available for viewing prior to the December 1st auction on the Carl Maxey Center Facebook page. Proceeds of the event will go to benefit the Carl Maxey Center of Spokane.

ADDITIONAL SHOWS OF THE WOMAN KING WILL SCREEN DEC. 2-8 WITH PROCEEDS GOING TO THE CARL MAXEY CENTER.

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

The 22^nd Annual Anchorage International Film Festival will take place December 2-11, 2022. We are currently planning an in-person event, with all films available to watch at our various venues. Follow us on Facebook for updates throughout the year. And thanks again to all the filmmakers and audience members who helped make AIFF 2021 a wonderful success!

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Gallery Hours: Monday – Friday 12:00 PM – 6:00 PM

Opening reception: Friday, November 11th 6:00 PM – 7:30 PM

Artist Talk: Saturday, November 19th 5:00 PM – 6:30 PM

Artist and Curator Selena Kearney, in collaboration with the Paimārire Studio on the Native Art Campus of The Evergreen State College, presents Coast Salish wool weavers and their processes. Ceremonial Coast Salish weavings offer protection for the wearer and exist in both the spirit and human worlds. Weavers bring thoughts of care and devotion to the loom as they produce their works. This exhibition of Coast Salish weavings highlights the stories and kinship embedded in the art form focused on strengthening bonds and helping others.

In celebration of the Association on American Indian Affairs’ 100th anniversary (1922-2022), the Association is honored to announce the first annual Tribal Museums Day to be held on Saturday, December 3, 2022. We are engaging Tribal Museums and Cultural Centers across Indian Country to share our collective wisdom, values and diverse cultures!
The Association’s vision is to create a world where diverse Native cultures and values are lived, protected and respected. Tribal Museums Day will bring attention to our diverse Nations and cultures, stimulate tourism, and grow Tribal economies. Tribal Museums Day will also support the vision and mission of each Tribal Museum by re-educating the public that our Nations are the primary experts of Indigenous histories, knowledge, cultures, lifeways and values.
Check out a Tribal Museum or Cultural Center near you and you may enjoy:
​
FREE Admission
Special Exhibits
Gift Shop Discounts (consider holiday gift giving!)
Art Markets
Live Cultural Demonstrations

Live Event
As part of our 100-year anniversary, the Association will also host a live streaming event on Saturday, December 3, 2022 on social media from multiple Tribal Museums to celebrate Tribal Museums Day. The live streaming event will be emceed by Shannon Martin, Match-E-Be-Nash-She-Wish Band of Pottawatomi Indians, an include other interesting wisdom keepers from Indian Country.

We’ve curated the best-of-the-best for you! Our diverse collection of 160 designers, emerging brands & artists has something for all – jewelry, housewares, gourmet artisanal gifts, art, fashion, leather goods and so much more!

We’re excited to invite you to the CMLC Winter Bazaar 2022, our closing event of the year! Come find international decor and textiles, jewelry, vintage items, and many more. Get your end-of-the-year shopping done with us, discover unique international pieces, and support a good cause!

Organizational and self-identified community leaders of color across Washington are cordially invited to join us virtually on Saturday, December 3rd, 10:00 AM -1:00 PM, to represent their organizations or communities and identify shared legislative priorities.

In the spirit of strengthening communities furthest from justice and in alignment with the goals of the Members of Color Caucus’ (Senate, House, LBC), the POCLS is transitioning its leadership to a more BIPOC collective led process. This is in alignment with national movements on centering this work within racial equity and systemic changes with the urgency that solutions (and those who can make change happen) exist already within BIPOC communities and its respective multigenerational leadership. Our new leadership comes from previous Summit participants, alongside community leaders/organizations already doing this work within WA State. We are excited about the transition and welcome those interested to be involved or provide feedback to ensure that this event/process is continually centering voices left out of critical decision making.

One of our core priorities (and lessons learned in previous years) is that we, as a BIPOC community led process, want to establish evaluation and accountability measures to ensure our issues are prioritized and tracked by our elected officials. We are growing our volunteer bill tracking team and welcome participants of the summit to help champion issues at the legislature to ensure our collective priorities are not left behind.

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

The German American Society of Portland presents Weihnachtsmarkt 2022: A German Christmas Market! This year’s market will be held on December 3 from 11 a.m. to 6 p.m. at the Deutsches Haus on NE 57th and Sandy in Portland. The Weihnachtsmarkt will feature Glühwein (German mulled wine), German food, vendors selling Christmas gifts, baby goats, festive live music, and a real St. Nikolaus!

Looking for some Native bling for the holidays? Visit our Winter Native Made Winter Marketplace each weekend through the month of December at the future site of our retail shop, right in the heart of Cully! Support Native artists and find the perfect gift for everyone in your life! There will be live music, refreshment

We are happy to announce the 10th Seattle Turkish Film Festival Program that features some of the best contemporary Turkish Films. STFF 2022 will take place between December 3-4 at SIFF Uptown. All screenings of this year will be in-person, and we will be following the CDC guidelines for public health to keep everyone safe for future screenings.​

Please support us by joining these screenings and events as we are all looking forward to reconnecting in-person with our wonderful community.

Consider donating to support local film industry, and follow us for discount tickets and more!

With the generous support of Prosper Portland, MESO will be hosting our second annual MESO Makers Winter Market at Alberta Commons corner of MLK & Sumner St.

On behalf of Muslimahs Against Abuse Center (MAAC), we want to inform everyone that our annual Muslimahs Networking Night which was scheduled to happen on November 20th, 2022 has now been moved to December 3rd, 2022 with a venue change as well due to unavoidable circumstances. The new venue will be at Highline College Campus at 2400 S 240th St, Des Moines, WA 98198 from 3:00 pm to 8:00 pm on the new date.

If you have already purchased tickets and would still like to join us for this wonderful evening please note the changes and we will see you soon!

We are so excited to see you all very soon! Limited number of tickets available purchase your before we sell out. Tickets will not be sold at the door this year!

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Gallery Hours: Monday – Friday 12:00 PM – 6:00 PM

Opening reception: Friday, November 11th 6:00 PM – 7:30 PM

Artist Talk: Saturday, November 19th 5:00 PM – 6:30 PM

Artist and Curator Selena Kearney, in collaboration with the Paimārire Studio on the Native Art Campus of The Evergreen State College, presents Coast Salish wool weavers and their processes. Ceremonial Coast Salish weavings offer protection for the wearer and exist in both the spirit and human worlds. Weavers bring thoughts of care and devotion to the loom as they produce their works. This exhibition of Coast Salish weavings highlights the stories and kinship embedded in the art form focused on strengthening bonds and helping others.

Come and party with other QT Viet folks. Food, karaoke, and dance. Optional white elephant if you wish to participate bring a gift.

Celebration of 10 years of the Miss & Mr Community Pageantry 2022-23 (21+ event)

If your interested in running for either titles. ( Miss, Ms or Mr, Mx)

Pageant Night Categories are
* Daytime Realness
* Talent
* Formal Wear / Evening Gown
* Q&A

Over two years in the making, let Grupo Folklorico Herencias Mexicanas transport you from the PNW to Mexico as we celebrate the customs and traditions of some of Mexico’s most recognized festivals. Join us for a night of amazing folklorico dances and vendors.

Featuring: Folklor Oaxaqueño

Doors Open: 6:00 PM

Show Begins: 7:00 PM

Vendor List:

• Tierra del Sol Creations
• Sin Nombre Designs
• Y & A Natural Design
• El Tesoro Jewels

Children 5 and under are free and do not require a ticket, but they must sit on the lap of a ticketed adult.

Masks are not required but encouraged.

Don’t forget to enter your dancer code at checkout to to help each dancer reach their ticket sales goal.

We’ve curated the best-of-the-best for you! Our diverse collection of 160 designers, emerging brands & artists has something for all – jewelry, housewares, gourmet artisanal gifts, art, fashion, leather goods and so much more!

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Please join us on the Basque Block on Sunday, December 4 from 11am-4pm, for our first annual Eguberriko Azoka, or Basque Christmas Market. There will be food and drink, vendors from near and far, and activities for the kids. This event is a collaboration between the Basque Museum and Euzkaldunak in conjunction with Boiseko Gazteak’s Winter Performance.

The Azoka will take place before, during, and after Boiseko Gazteak’s performance. There will be a Christmas photo booth starting at 2:30 where kids will have a chance to get photographed with Olentzero on a sheep wagon.

Looking for some Native bling for the holidays? Visit our Winter Native Made Winter Marketplace each weekend through the month of December at the future site of our retail shop, right in the heart of Cully! Support Native artists and find the perfect gift for everyone in your life! There will be live music, refreshment

Come join staff from the Cowlitz Tribe Natural Resources Department and Cowlitz Garden to plant camas bulbs for a second year as part of the Gospodor property restoration project.
We will be planting common camas (Camassia quamash) bulbs and learning about camas.
Lunch, snacks, and warm drinks will be provided in collaboration with the Senior Nutrition Program.
All ages are welcome!
Due to limited parking on-site, we will have transit vehicles making trips back and forth between the site and the Park & Ride located nearby starting around 11:00AM.

We are happy to announce the 10th Seattle Turkish Film Festival Program that features some of the best contemporary Turkish Films. STFF 2022 will take place between December 3-4 at SIFF Uptown. All screenings of this year will be in-person, and we will be following the CDC guidelines for public health to keep everyone safe for future screenings.​

Please support us by joining these screenings and events as we are all looking forward to reconnecting in-person with our wonderful community.

Consider donating to support local film industry, and follow us for discount tickets and more!

With the generous support of Prosper Portland, MESO will be hosting our second annual MESO Makers Winter Market at Alberta Commons corner of MLK & Sumner St.

This Hanukkah, sing and dance along with a cappella and Jewish music sensations the Maccabeats! Originally formed as a Yeshiva University student vocal group, the Maccabeats are phenomenal performers with a massive fan base, over 20 million views on YouTube, numerous TV appearances, and four successful albums, including their bestselling “A Maccabeats Hanukkah.” With little more than their unadulterated voices, a little Jewish humor, and a philosophy of integrating traditional and secular sounds, they entertain and inspire audiences of all backgrounds and ages with an eclectic repertoire of Jewish and Israeli songs, pop hits, and signature mash-ups, like breakout Hanukkah parody, “Candlelight.” Their all-ages Hanukkah shows will have the whole family rocking out! Best for ages 4+

Get your holiday shopping done early while you support BIPOC Small Business, Makers, Artists & Creatives all Evening long.

NO ENTRY FEE – ALL ARE WELCOME – ART – VENDORS – FOOD – LIVE MUSIC – PLANTS – DRINKS

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Gallery Hours: Monday – Friday 12:00 PM – 6:00 PM

Opening reception: Friday, November 11th 6:00 PM – 7:30 PM

Artist Talk: Saturday, November 19th 5:00 PM – 6:30 PM

Artist and Curator Selena Kearney, in collaboration with the Paimārire Studio on the Native Art Campus of The Evergreen State College, presents Coast Salish wool weavers and their processes. Ceremonial Coast Salish weavings offer protection for the wearer and exist in both the spirit and human worlds. Weavers bring thoughts of care and devotion to the loom as they produce their works. This exhibition of Coast Salish weavings highlights the stories and kinship embedded in the art form focused on strengthening bonds and helping others.

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

With the generous support of Prosper Portland, MESO will be hosting our second annual MESO Makers Winter Market at Alberta Commons corner of MLK & Sumner St.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Gallery Hours: Monday – Friday 12:00 PM – 6:00 PM

Opening reception: Friday, November 11th 6:00 PM – 7:30 PM

Artist Talk: Saturday, November 19th 5:00 PM – 6:30 PM

Artist and Curator Selena Kearney, in collaboration with the Paimārire Studio on the Native Art Campus of The Evergreen State College, presents Coast Salish wool weavers and their processes. Ceremonial Coast Salish weavings offer protection for the wearer and exist in both the spirit and human worlds. Weavers bring thoughts of care and devotion to the loom as they produce their works. This exhibition of Coast Salish weavings highlights the stories and kinship embedded in the art form focused on strengthening bonds and helping others.

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

With the generous support of Prosper Portland, MESO will be hosting our second annual MESO Makers Winter Market at Alberta Commons corner of MLK & Sumner St.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Gallery Hours: Monday – Friday 12:00 PM – 6:00 PM

Opening reception: Friday, November 11th 6:00 PM – 7:30 PM

Artist Talk: Saturday, November 19th 5:00 PM – 6:30 PM

Artist and Curator Selena Kearney, in collaboration with the Paimārire Studio on the Native Art Campus of The Evergreen State College, presents Coast Salish wool weavers and their processes. Ceremonial Coast Salish weavings offer protection for the wearer and exist in both the spirit and human worlds. Weavers bring thoughts of care and devotion to the loom as they produce their works. This exhibition of Coast Salish weavings highlights the stories and kinship embedded in the art form focused on strengthening bonds and helping others.

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

With the generous support of Prosper Portland, MESO will be hosting our second annual MESO Makers Winter Market at Alberta Commons corner of MLK & Sumner St.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Gallery Hours: Monday – Friday 12:00 PM – 6:00 PM

Opening reception: Friday, November 11th 6:00 PM – 7:30 PM

Artist Talk: Saturday, November 19th 5:00 PM – 6:30 PM

Artist and Curator Selena Kearney, in collaboration with the Paimārire Studio on the Native Art Campus of The Evergreen State College, presents Coast Salish wool weavers and their processes. Ceremonial Coast Salish weavings offer protection for the wearer and exist in both the spirit and human worlds. Weavers bring thoughts of care and devotion to the loom as they produce their works. This exhibition of Coast Salish weavings highlights the stories and kinship embedded in the art form focused on strengthening bonds and helping others.

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

With the generous support of Prosper Portland, MESO will be hosting our second annual MESO Makers Winter Market at Alberta Commons corner of MLK & Sumner St.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Gallery Hours: Monday – Friday 12:00 PM – 6:00 PM

Opening reception: Friday, November 11th 6:00 PM – 7:30 PM

Artist Talk: Saturday, November 19th 5:00 PM – 6:30 PM

Artist and Curator Selena Kearney, in collaboration with the Paimārire Studio on the Native Art Campus of The Evergreen State College, presents Coast Salish wool weavers and their processes. Ceremonial Coast Salish weavings offer protection for the wearer and exist in both the spirit and human worlds. Weavers bring thoughts of care and devotion to the loom as they produce their works. This exhibition of Coast Salish weavings highlights the stories and kinship embedded in the art form focused on strengthening bonds and helping others.

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

With the generous support of Prosper Portland, MESO will be hosting our second annual MESO Makers Winter Market at Alberta Commons corner of MLK & Sumner St.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Gallery Hours: Monday – Friday 12:00 PM – 6:00 PM

Opening reception: Friday, November 11th 6:00 PM – 7:30 PM

Artist Talk: Saturday, November 19th 5:00 PM – 6:30 PM

Artist and Curator Selena Kearney, in collaboration with the Paimārire Studio on the Native Art Campus of The Evergreen State College, presents Coast Salish wool weavers and their processes. Ceremonial Coast Salish weavings offer protection for the wearer and exist in both the spirit and human worlds. Weavers bring thoughts of care and devotion to the loom as they produce their works. This exhibition of Coast Salish weavings highlights the stories and kinship embedded in the art form focused on strengthening bonds and helping others.

From unreliability to intimacy, first-person offers the writer a rich arsenal with which to build tension, plot and characterization. But for Katie Kitamura, the shift to writing in the first person was also very personal, and had to do with her own relationship to my writing—where she located herself in her own fiction. In this craft talk, Kitamura will look at first person examples from some of her favorite writers, as well as her own work, to examine the opportunities and risks of the first person voice. Kitamura will be joined in conversation by Lucy Tan.

Word Works craft talks by novelists, essayists, poets, and memoirists focus on writing as process rather than finished product, examining how language works to inspire and provoke new ideas through live close readings of the writer’s own or others’ work. These talks are designed to apply to writers of all genres as well as illuminate well-known works for avid readers. The talks are followed by an interview with a noted editor, writer, or critic.

The Cowlitz Indian Tribe Warriors Program is hosting a Cowlitz Holiday Bazaar fundraiser! This is a free event perfect for holiday shopping as handmade items will be sold. If you would like to enter the raffle, bring food or new socks to donate.

The bazaar will take place on Saturday, December 10th, 9am-5pm. See graphic for additional information!

The Winter Market at Rainier Beach Urban Farm & Wetlands is back! It’s happening Saturday and Sunday, December 10-11; 10 a.m.-2 p.m.

Come stock up on local winter produce like apples, potatoes and winter squash! We’ll also have your favorite local honey, jams, and pantry goods. This year we’re excited to showcase goods made by Tilth Alliance staff that have been sewn, crocheted, crafted and more! Our Maritime Northwest Garden Guide and other books, gardening tools, and other gift items will also be available.

We accept cash, credit, EBT, Fresh Bucks and offer SNAP Market Match.

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

We are excited once again to offer our handmade goods for our 2 day holiday market from 11-4 on December 10th & 11th at ALMA Tacoma. We will have a diverse variety of items perfect for your holiday shopping.

Visit our Winter Native Made Winter Marketplace each weekend through the month of December at the future site of our retail shop, right in the heart of Cully! Support Native artists and find the perfect gift for everyone in your life! There will be live music, refreshments and food in the surrounding Cully neighborhood!

With the generous support of Prosper Portland, MESO will be hosting our second annual MESO Makers Winter Market at Alberta Commons corner of MLK & Sumner St.

Come and join us in celebrating christmas with Indo Idaho community.
Since this will be potluk, don’t forget to bring your favorite dish/drinks to share with everyone!
Hope to see you there!

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Strike A Pose is an monthly event that celebrates the ballroom community and showcase local BIPOC artists in a safe and affirming space.

The Winter Market at Rainier Beach Urban Farm & Wetlands is back! It’s happening Saturday and Sunday, December 10-11; 10 a.m.-2 p.m.

Come stock up on local winter produce like apples, potatoes and winter squash! We’ll also have your favorite local honey, jams, and pantry goods. This year we’re excited to showcase goods made by Tilth Alliance staff that have been sewn, crocheted, crafted and more! Our Maritime Northwest Garden Guide and other books, gardening tools, and other gift items will also be available.

We accept cash, credit, EBT, Fresh Bucks and offer SNAP Market Match.

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Join us for an interactive Hanukkah storytime with two Sephardic children’s authors (one local, one world-renowned) as they share their Jewish Cuban family stories. Julie Anna Blank (“Hanukkah in Little Havana”) and Ruth Behar (“Tía Fortuna’s New Home: A Jewish Cuban Journey”) read their beautifully illustrated books for us. Then we’ll sing Hanukkah songs together, including Ladino/Sephardic favorite “Ocho Kandelikas.” You can also make a Hanukkah menorah out of snacks to enjoy during the event! Books make great Hanukkah presents, and the event is free with purchase.

In partnership with Jewish Book Council.
Sponsored by Samis Foundation.

Tickets
$5 (under age 2 FREE)
FREE with book purchase:

$15 Book: “Tía Fortuna’s New Home”
$20 Book: “Hanukkah in Little Havana”

We are excited once again to offer our handmade goods for our 2 day holiday market from 11-4 on December 10th & 11th at ALMA Tacoma. We will have a diverse variety of items perfect for your holiday shopping.

Visit our Winter Native Made Winter Marketplace each weekend through the month of December at the future site of our retail shop, right in the heart of Cully! Support Native artists and find the perfect gift for everyone in your life! There will be live music, refreshments and food in the surrounding Cully neighborhood!

With the generous support of Prosper Portland, MESO will be hosting our second annual MESO Makers Winter Market at Alberta Commons corner of MLK & Sumner St.

In celebration of Kwanzaa, enjoy a reading of My First Kwanzaa by Britney House. The book is a warm and lively introduction to a very special holiday that will help even the youngest children join in! This program is sponsored by City of Seattle Cultural Educatiand premieres on NAAM’s Youtube Channel every second Sunday of the month.

Our Winter Celebration will be a multimedia experience, alive with music, art, stories and stunning visuals! There will be delicious catering, a curated bar menu, silent auction and raffle as well as performances from local hip-hop and electronic musicians, Aztec dance, immersive video projection, and a chance to hear about our recent successes and exciting projects on the horizon.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

With the generous support of Prosper Portland, MESO will be hosting our second annual MESO Makers Winter Market at Alberta Commons corner of MLK & Sumner St.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

With the generous support of Prosper Portland, MESO will be hosting our second annual MESO Makers Winter Market at Alberta Commons corner of MLK & Sumner St.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Join us in this long awaited celebration of our first community led research through the Our Words Build Power Campaign. The our words build power campaign is a community-centered research process around the structural and individual impacts on QTBIPOC health and wellness during the COVID-19 pandemic. Analyzed through a reproductive justice lens, and focused specifically on documenting our communities’ narratives of resistance and resilience in order to inform ongoing local and statewide advocacy and community organizing campaigns.

It’s been a time coming but this research is finally ready to be shared! We have partnered with local artists to compile the research gathered into a zine.

Come grab a copy, learn more about the Campaign, where it’s headed next, and how you can get involved.

We’ll be having catering from ChuMinh Tofu and Antojitos Lita Rosita.

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

With the generous support of Prosper Portland, MESO will be hosting our second annual MESO Makers Winter Market at Alberta Commons corner of MLK & Sumner St.

Save the date for the annual holiday party for our United Indians of All Tribes families!

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

With the generous support of Prosper Portland, MESO will be hosting our second annual MESO Makers Winter Market at Alberta Commons corner of MLK & Sumner St.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Party and raise funds for the Rhapsody Workshop at King St Station, with a live music revue, food by Chef Tarik, and so much more.

The Rhapsody Workshop at King St Station will be our first-ever permanent home, and this party will teach you all about what’s to come, introduce you to our partners in the project, and fill you full of amazing, free food by Chef Tarik along with live music played by many branches of our community.

Dress code: Playfully Snazzy

Happy Hour: 6pm – 7pm

Live Music: 7pm – 9pm

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

With the generous support of Prosper Portland, MESO will be hosting our second annual MESO Makers Winter Market at Alberta Commons corner of MLK & Sumner St.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Free admission. Local vendors. Handmade gifts.

Indigenous artists will be selling and showcasing handmade authentic arts and crafts. Beautiful work such as clothing, jewelry, woodworking, drums, art prints, and more by Native American Artists with many styles and tribes represented will be at Daybreak Star. This is a free event open to the public

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Visit our Winter Native Made Winter Marketplace each weekend through the month of December at the future site of our retail shop, right in the heart of Cully! Support Native artists and find the perfect gift for everyone in your life! There will be live music, refreshments and food in the surrounding Cully neighborhood!

With the generous support of Prosper Portland, MESO will be hosting our second annual MESO Makers Winter Market at Alberta Commons corner of MLK & Sumner St.

Queer the Land is partnering with The Pride Foundation and local queer CHamoru artist Lourdez Velasco, known on social media as @TenderVirgo, to bring you a collaging practice that will guide you in reclaiming home and honoring your and our collective ancestors.

During this free event, participants will practice analog collaging skills and use creative materials to bring to life interpretations, memories, and reconfigurations of “home.” Some images will be provided in a buffet -style. Still, participants are encouraged to bring magazines, fabrics, items found in nature, paints, and other elements to tell a story through their collages.

This is a free event, but donations are encouraged. You can donate at https://alliedmedia.org/post/donate-to-queer-the-land. Donations go to support the liberatory work and capacity building of our Queer the Land team, the efforts and labor of our facilitator, and toward materials and food for our event. Donations also help sponsor the participation of QTBIPOC- identified folx in other events and program offerings. This event will have some sweet treats, so come with a sweet tooth and a desire to create with community.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Free admission. Local vendors. Handmade gifts.

Indigenous artists will be selling and showcasing handmade authentic arts and crafts. Beautiful work such as clothing, jewelry, woodworking, drums, art prints, and more by Native American Artists with many styles and tribes represented will be at Daybreak Star. This is a free event open to the public

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Visit our Winter Native Made Winter Marketplace each weekend through the month of December at the future site of our retail shop, right in the heart of Cully! Support Native artists and find the perfect gift for everyone in your life! There will be live music, refreshments and food in the surrounding Cully neighborhood!

With the generous support of Prosper Portland, MESO will be hosting our second annual MESO Makers Winter Market at Alberta Commons corner of MLK & Sumner St.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

With the generous support of Prosper Portland, MESO will be hosting our second annual MESO Makers Winter Market at Alberta Commons corner of MLK & Sumner St.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

With the generous support of Prosper Portland, MESO will be hosting our second annual MESO Makers Winter Market at Alberta Commons corner of MLK & Sumner St.

Free Dinner Provided For Everyone! Thank you to Evergreen, Healthier Here, and the Na’ah Illahee Fund for this event series!

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

With the generous support of Prosper Portland, MESO will be hosting our second annual MESO Makers Winter Market at Alberta Commons corner of MLK & Sumner St.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

With the generous support of Prosper Portland, MESO will be hosting our second annual MESO Makers Winter Market at Alberta Commons corner of MLK & Sumner St.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

With the generous support of Prosper Portland, MESO will be hosting our second annual MESO Makers Winter Market at Alberta Commons corner of MLK & Sumner St.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Shades of Light brings together ceramics, photography, printmaking, sculpture, and textiles from the Portland Art Museum’s permanent collection. Linking these objects is the subtle role of light across a broad range of Korean creative practices. A Buddhist sculpture by Jang Jin-ik uses light as its medium, while our appreciation of ceramics and textiles may be determined by how light reflects off the surface of an object, or even travels through it. In other cases the interplay of light and dark is precisely what gives an image form. The exhibition highlights the superlative celadon glazes of the Goryeo period (918–1392) and the later taste for white porcelain in the Joseon period (1392–1897). Alongside historical examples are recent works by contemporary women artists Kim Yikyung and Joo Jiwan, who investigate these ceramic traditions in their own practice.

Since Otis Quaicoe’s move from Accra, Ghana, to Portland in 2017, his figural paintings have adjusted and shifted in congruence with a heightened cultural awareness of his relocated body. As he looked at Blackness and race in American society from the perspective of an African immigrant, Quaicoe became more interested in depicting the nuances of skin tone that emerge in velvety grayscale.

Quaicoe’s portraits do not just invoke identity of the painful bonds tying two continents together, but they simultaneously break down these layers of history and draw us into a more intimate conversation that transcends nationalities and brightens the discourse of the African diaspora experience.

What is the relationship of humans to their environment? Japanese artists have considered this question in myriad ways, influenced as deeply by the tempestuous natural forces shaping life in this Pacific Rim island archipelago as by long-standing traditions of natural imagery in Japanese art, literature, and culture. The human connection to the natural world has taken on new meanings in the wake of March 11, 2011, when the Great East Japan Earthquake and tsunami, followed by the Fukushima nuclear disaster, struck the northeast coast of Japan. This exhibition explores artistic responses to the environmental forces–some benign, some terrifying–that regulate life on this planet. The works featured here consider the ecological relationship between humans and our environment, encompassing mundane moments of daily life, meditative abstractions, and dystopian visions of the future.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.