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Portland Art Museum Connecting communities through art since 1892. Open: Tue–Sun, 10 am–5 pm (Closed Mon)
Free for Members, Youth 17 & under, and on Free First Thursday

Lillian Pitt, whose birthday is today, is primarily known for her sculpture and mixed media work, which draws upon 12,00...
10/14/2026

Lillian Pitt, whose birthday is today, is primarily known for her sculpture and mixed media work, which draws upon 12,000 years of iconography and tradition of the Columbia River Plateau. Tsagaglalal/She Who Watches was a powerful female chief who came to symbolize protection. This sculpture references the Columbia River petroglyph and pictograph in Columbia Hills Historical State Park, affirming and celebrating Indigenous presence in the region.

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Lillian Pitt (American, Wasco, Yakama, and Warm Springs, born 1944), “She Who Watches,” 2009. New Zealand lead crystal and copper; 12 × 6 × 4 3/4 in. Museum Purchase: Funds provided by the Native American Art Council, 2015.165.1a,b © Lillian L. Pitt

This weekend, PAM CUT @ The Whitsell presents a David Lynch film series with Fresh Cut Flowers. “Night Blooming Jasmine”...
10/13/2026

This weekend, PAM CUT @ The Whitsell presents a David Lynch film series with Fresh Cut Flowers. “Night Blooming Jasmine” celebrates the cinematic intersection of nature, beauty, mystery, and the surreal – Lynch’s distinctive visual language and ability to find the strange within the everyday. Along with the screenings, Fresh Cut Flowers will release a small collection of “Night Blooming Jasmine” products.

Sat, Oct 17, 2 p.m. | ERASERHEAD (1977)
Sat, Oct 17, 5 p.m. | BLUE VELVET (1986) in 35MM with w**e by Post Familiar and music
Sun, Oct 18, 2 p.m. | LOST HIGHWAY (1997)

📍 Screenings are in the Portland Art Museum’s Whitsell Auditorium

Tickets → https://bit.ly/4z0urKd

Within this red space is a sound installation of Christian Thompson singing in Bidjara, his endangered Ancestral languag...
10/12/2026

Within this red space is a sound installation of Christian Thompson singing in Bidjara, his endangered Ancestral language. At risk of being lost, as many Indigenous languages around the world have been, Bidjara has been threatened by the effects of colonization.

Thompson repeats the word “Burdi” (fire), showing that speaking even a single word in Bidjara is a defiant and hopeful act of cultural preservation. The synth-heavy instrumentation, developed with collaborator & SO, channels the fire within – the inner strength and resilience necessary for survival and renewal.

📍 Visit it in “The Stars We Do Not See: Australian Indigenous Art”



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Christian Thompson Artist (Bidjara, born 1978) & SO, collaborator, “Burdi Burdi (Fire Fire),” 2021. Naarm (Melbourne), Victoria. Sound installation. Purchased, Victorian Foundation for Living Australian Artists, 2021

Installation view, The Stars We Do Not See: Australian Indigenous Art at Portland Art Museum, Oregon, United States, 2026. Photo: Single File Studio, courtesy of the Portland Art Museum. Works © Studio Dr Christian Thompson AO, Melbourne

The Stars We Do Not See: Australian Indigenous Art is organized by the National Gallery of Victoria and the National Gallery of Art, Washington in association with the Denver Art Museum, the Portland Art Museum, and the Peabody Essex Museum.

Hold still. Your screen was looking a little smudged. 🧼📍 See this and more on view in ”An Honest Day’s Work: Photographs...
10/11/2026

Hold still. Your screen was looking a little smudged. 🧼

📍 See this and more on view in ”An Honest Day’s Work: Photographs of Labor” (Gallery 217)

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Alfred A. Monner (American, 1909–1998), “Window Washer,” ca. 1955. Gelatin silver print; 13 7/16 × 10 1/2 in. Gift of the Artist, 94.36.13 © Al Monner

Just announced! Opening in February, "German Expressionism in Art and Film" immerses visitors in the dramatic world of a...
10/10/2026

Just announced! Opening in February, "German Expressionism in Art and Film" immerses visitors in the dramatic world of art and film that developed during the turbulent years between the World Wars.

Featuring approximately 70 prints and paintings alongside 50 film clips and stills, plus special screenings, the exhibition examines the bold and emotional style of German Expressionism that has come to symbolize a generation’s trauma and mood in the years following the First World War.

Learn more → https://bit.ly/47dXK09

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Käthe Kollwitz (German, 1867–1945), "Self-Portrait (plate 2/6 from the portfolio Self-Portraits of German Graphic Artists)," 1921 (plate) / 1923 (portfolio). Color etching Druckgrafik; 32,1 x 38,4 cm 50 x 70 cm.; Film still from Nosferatu

☂️ Your rainy-day escape begins here.—Artwork: Reko Rennie (Kamilaroi, born 1974), “OA WARRIOR I (blue)(pink),” 2020. On...
10/09/2026

☂️ Your rainy-day escape begins here.

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Artwork: Reko Rennie (Kamilaroi, born 1974), “OA WARRIOR I (blue)(pink),” 2020. On view in “The Stars We Do Not See: Australian Indigenous Art”

📷 / ig

The practice of carving and decorating hollow logs is common among several Aboriginal groups in Arnhem Land, in northern...
10/07/2026

The practice of carving and decorating hollow logs is common among several Aboriginal groups in Arnhem Land, in northern Australia. These memorial poles, known by various names including ḻarrakitj and lorrkon, were traditionally used as coffins to hold the bones of the deceased.

Today, they are no longer used in funerary ceremonies but are created as sculptural works. (No human remains have ever been stored in these memorial poles.) The painted designs honor the customs and ceremonial traditions of the artists’ Ancestors.

The brilliant pink tones created by Noŋgirrŋa Marawili are revolutionary. She challenges the Yolŋu tradition of painting with natural materials from Country by using magenta ink from discarded printer cartridges found on Country.

See them on view in “The Stars We Do Not See: Australian Indigenous Art.”

Plan your visit at → https://bit.ly/3VxaMn2

"The Stars We Do Not See: Australian Indigenous Art" is organized by the National Gallery of Victoria and the National Gallery of Art, Washington in association with the Denver Art Museum, the Portland Art Museum, and the Peabody Essex Museum.

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Noŋgirrŋa Marawili (Maarrpa, 1939–2023), “Djapu,” 2020. Yirrkala, Northern Territory. Purchased with funds donated by Paula Fox AO, Linda Herd and Canny Quine Foundation, Barbara Hay, and donors to the 2020 Noŋgirrŋa Marawili appeal, 2021; Baluka Maymuru (Maŋgalili, 1947–2024), “Maŋgalili Yothu Yindi arrakitj,” 2007. Djarrakpi, Northern Territory. Earth pigments on eucalyptus, and synthetic fur. Purchased with funds donated by friends in memory of Catherine Allen, 2010; Gawirrin Gumana (Dhalwangu, about 1935–2016), “Guyamirrilil,” 2003. Gägän, Northern Territory. Presented through the NGV Foundation in memory of Noel Castan by Anita Castan, Governor, 2003; Jimmy Njiminjuma (Kuninjku, about 1945–2004), “Lorrkon (Hollow Log),” 1992. Mumeka, Northern Territory. Presented through the NGV Foundation by Gabrielle Pizzi, Governor, 2003; Malaluba Gumana (Dhalwangu, 1954–2020), “Dhatam (Waterlilies),” 2017. Gägän, Northern Territory. Purchased with funds donated by
Elizabeth Foster, 2018; Noŋgirrŋa Marawili (Maarrpa, 1939–2023), “Djapu,” 2020. Yirrkala, Northern Territory. Purchased with funds donated by Paula Fox AO, Linda Herd and Canny Quine Foundation, Barbara Hay, and donors to the 2020 Noŋgirrŋa Marawili appeal, 2021; Paddy Fordham Wainburranga (Rembarrnga, about 1938–2006), “Hollow Log Coffin,” 1989. Beswick Station, Northern Territory. Purchased from Admission Funds, 1992; Charlie Djurritjini (Ganalbingu, born 1952), “Warrnyu Dhawu (Flying Fox Story),” 2018. Ramingining, Northern Territory. Purchased with funds donated by Professor Ian J. McNiven, 2022; Naminapu Maymuru-White (Maŋgalili, born 1952), “Milŋiyawuy (The Milky Way),” 2018. Djarrakpi, Northern Territory. Purchased, NGV Supporters of Indigenous Art, 2018; Dhambit Munuŋgurr (Djapu, born 1968), “Bäru lll,” 2020. Yirrkala, Northern Territory. Purchased with funds donated by Orloff Family Charitable Trust, 2021; Dhambit Munuŋgurr (Djapu, born 1968), “Gurtha,” 2020. Yirrkala, Northern Territory. Purchased with funds donated by Orloff Family Charitable Trust, 2021; Dhambit Munuŋgurr (Djapu, born 1968), “Milpu Milpu,” 2020. Yirrkala, Northern Territory. Purchased with funds donated by Orloff Family Charitable Trust, 2021; Wukun Wanambi (Marrakulu, 1962–2022), “Wawurritjpal II,” 2005. Gift of Mark Young through the Australian Government’s Cultural Gifts Program, 2013; Gulumbu Yunupiŋu (Gumatj, about 1945–2012), “Gan’yu (Star),” 2009. Yirrkala, Northern Territory. Gift of Elizabeth Foster and Margaret Colquhoun in honor of their mother Madge Minty through the Australian Government’s Cultural Gifts Program, 2014; Installation view, The Stars We Do Not See: Australian Indigenous Art at Portland Art Museum, Oregon, United States, 2026. Photo: Single File Studio, courtesy of the Portland Art Museum. Works © The Artists, courtesy of Buku-Larrnggay Mulka Centre, Yirrkala.

“How do you balance the Earth from collapsing with the need for technological consumption?” Elias Sime poses this questi...
10/06/2026

“How do you balance the Earth from collapsing with the need for technological consumption?”

Elias Sime poses this question through his transformation of e-waste (discarded computer wiring, keyboards, microchips, and motherboards) into compositions that depict landscapes, maps, and architecture. He sources his materials from a market in his home of Addis Ababa, Ethiopia. The artist describes his work as a “tightrope” between nature and technology.

Composed of colorful wires braided together and attached by small nails to a large bowl, the patterns represent land formations. Small bat-like shapes appear to fly above them. Sime compares the shape of this sculpture to a cave and a megaphone.

📍 See it in Gallery M2, North Wing

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Elias Sime (Ethiopian, born 1968), “Tightrope: Eyes and Ears of a Bat (1),” 2020. Reclaimed electrical wires on wood; 47 1/4 x 83 1/2 in. Gift of Bill and Leslie Cornog © Elias Sime 2025

This weekend, PAM CUT @ The Whitsell presentsSat, Oct 10, 2 p.m. | THE SHINING (1980), Stanley Kubrick’s psychological h...
10/05/2026

This weekend, PAM CUT @ The Whitsell presents

Sat, Oct 10, 2 p.m. | THE SHINING (1980), Stanley Kubrick’s psychological horror. When a winter caretaker is stricken with writer’s block, his family is dragged into a vortex of madness, delusion, and violence.

Sun, Oct 11, 2 p.m. | THE ADDAMS FAMILY (1991) x ScreenPLAY! This dark comedy cult classic follows the Addams family as they are preyed upon by loan sharks, a devious brother, and prying neighbors.

🎨 For ScreenPLAY, enjoy Monster Mash artmaking from 11 a.m.–2 p.m. in the Finley Learning Studio! Drop in to create make-and-take monster creations and help build our collaborative monster family on the studio walls. All materials provided!

Learn more → https://portlandartmuseum.org/event/vintage-spooky/

Simone Leigh transforms an abstraction of female form into a radiant, towering architectural sculpture.Leigh is inspired...
10/03/2026

Simone Leigh transforms an abstraction of female form into a radiant, towering architectural sculpture.

Leigh is inspired by the ritual and vernacular forms of African and African-diasporic art; the bowl shape references a Zulu ceremonial object that conveys status and symbolizes women’s labor.

Her work resurfaces histories of labor and consumption of the Black female body, and the substitution of a specific face with this symbolic form hints at their erasure, anonymity, and obscurity throughout history.

The presence and scale of “Sentinel IV,” however, seems to radiate with ancestral power and looks to the future with an open, protective gaze.

📍 See it in Gallery M5, North Wing

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Simone Leigh (American, born 1967), “Sentinel IV (Gold),” 2021. Bronze, gold leaf; 128 × 25 × 15 in. Gift of the Miller Meigs Collection, 2024.18.1. Photo: Single File Studio

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