Global Icons, Local Spotlight: Contemporary Art from the Collections of Jordan D. Schnitzer @ Portland Art Museum

Global Icons, Local Spotlight: Contemporary Art from the Collections of Jordan D. Schnitzer

Portland Art Museum

September 6, 2025 – January 11, 2026

Jeff Koons, American, (b. 1955)

Gazing Ball (da Vinci Mona Lisa), edition 38/40, 2016

Archival pigment print with inlaid mirrored glass

40 11/16 x 27 3/4 in. Overall

Published by Two Palms, New York, NY

Collection of Jordan D. Schnitzer

© Jeff Koons

Photography Courtesy of the artist and Two Palms, NY

Dinh Q. Lê, Vietnamese-American, (1968 - 2024)

I am Large, I Contain Multitudes, edition AP 1/1, 2009

Bicycle, steel, mirrors, wood, plastic, rubber, and metal lock

72 x 90 x 40 in. Overall, 90 x 106 1/2 x 57 in. Crate

Published by the artist

Collection of the Jordan Schnitzer Family Foundation

© Courtesy of Elizabeth Leach Gallery and the Dinh Q. Lê Estate

Photography Aaron Wessling

Amy Sherald, American, (b. 1973)

As Soft as She Is..., edition 2/35, 2024

70-color screenprint on Lana Aquarelle 600 gsm

50 5/8 x 42 3/8 x 1 3/4 in. Frame, 

45 1/4 x 37 in. Sheet, 40 1/4 x 32 in. Image

Published by Hauser & Wirth, New York, NY

Collection of the Jordan Schnitzer Family Foundation

© Amy Sherald. Courtesy the artist and Hauser & Wirth

Photography Aaron Wessling

Portland Art Museum (PAM) presents Global Icons, Local Spotlight: Contemporary Art from the Collections of Jordan D. Schnitzer, an exhibition that shares works from Oregon’s foremost fine art collector by some of today’s leading artists with local Portland audiences.

Highlighting recent acquisitions from the collections of Jordan Schnitzer and his Family Foundation, the exhibition includes more than 75 works—some of which have never previously been exhibited—by celebrated artists of the 20th century, such as Louise Bourgeois, Jasper Johns, Ellsworth Kelly, and Robert Rauschenberg, in addition to contemporary luminaries such as Nick Cave, Jenny Holzer, Mickalene Thomas, and Hank Willis Thomas.

Jordan Schnitzer, who has been named an ARTnews Top 200 art collector globally, is a lifelong Portland resident and local business owner. His collaboration with PAM to exhibit these collections is an extension of the Jordan Schnitzer Family Foundation’s mission to share art with audiences across the globe.

“Instead of having to travel to New York City to go to the Museum of Modern Art or the Whitney, all you have to do is visit the Portland Art Museum to see exceptional artwork by some of today’s biggest artists," said Jordan Schnitzer. “Each year, when I collect new works, I think about how to share them with museums across the country through the Jordan Schnitzer Family Foundation exhibition program. My hope is that they will inspire audiences who might not otherwise have the opportunity to see works by these amazing artists.”

Jeffrey Gibson

Native American, Mississippi Band of Choctaw Indians 

and Cherokee, (b. 1972)

SPIRIT AND MATTER, 2023

Acrylic paint on elk hide inset in custom wood frame

90 x 72 1/2 x 5 in. Frame

Collection of the Jordan Schnitzer Family Foundation

© Jeffrey Gibson

Photography Aaron Wessling

Tschabalala Self, American, (b. 1990)

Untitled (Bodega Run), 2023

Unique cast and pigmented paper in artist designed frame

40 1/4 x 49 1/4 in. Sheet, 45 3/4 x 54 3/4 x 6 7/16 in. Frame

Published by Two Palms, New York, NY

Collection of the Jordan Schnitzer Family Foundation

Courtesy of the artist and Two Palms, NY

Photography Aaron Wessling

Katherine Bernhardt, American, (b. 1975)

Untitled, 2024

Monotype in watercolor and crayon

100 3/4 x 52 3/4 x 2 5/8 in. Frame, 96 x 48 in. Sheet

Published by Two Palms, New York, NY

Collection of the Jordan Schnitzer Family Foundation

Courtesy of the artist and Two Palms, NY

Photography Aaron Wessling

The exhibition features works across various media including paintings, textiles and tapestries, sculpture, photography, glass, ceramics, mixed media, and more, many of which will be shown publicly for the first time. Additional artists in the exhibition include Roy Lichtenstein, Jeff Koons, Helen Frankenthaler, Andy Warhol, Keith Haring, Dinh Q. Lê, Julie Mehretu, and Tschabalala Self. The wide array of artists represented in this presentation includes numerous women, Native American and Black artists, and other artists of color, building on PAM’s own work to spotlight underrepresented artists who represent the myriad communities that comprise Oregon.

“Portland Art Museum is a vital cultural resource for the region, which is why we are thrilled to partner with the Jordan Schnitzer Family Foundation collection to provide our community more opportunities to access and find inspiration in the art that brings the world to Portland,” said Brian Ferriso, Director. “Jordan and his family have long been ardent supporters of the Museum and our city, and we are grateful for his collaboration with PAM to further our mission to engage and enrich Portland’s diverse communities through art.”

Nick Cave, American, (b. 1959)

Rescue, 2014

Mixed media including ceramic birds, metal flowers, 

ceramic Basset Hound, and vintage settee

70 x 50 x 40 in. Overall

Collection of the Jordan Schnitzer Family Foundation

© Nick Cave. Photo by James Prinz Photography 

Courtesy of the artist and Jack Shainman Gallery, New York

Alison Saar, American, (b. 1956)

Plucked, 2022

Charcoal and acrylic on vintage cotton picking bag, 

found hooks and chain, 93 x 28 in. Overall

Collection of the Jordan Schnitzer Family Foundation

© Alison Saar. Courtesy of L.A. Louver, Venice, CA.

Photography Aaron Wessling 

Christopher Myers, American, (b. 1974)

Let the Mermaids Flirt with Me, 2022

Stained glass lightboxes and tent

42 3/4 x 42 3/4 x 5 in. Frame

Collection of the Jordan Schnitzer Family Foundation

© Christopher Myers 2022 

Courtesy of the artist and James Cohan, New York 

Photo by Dan Bradica

Other notable works in the exhibition include Christopher Myers' immersive and mesmerizing installation Let the Mermaids Flirt with Me, on view for only the second time since debuting at Art Basel Miami in 2022. Featured in the Museum’s grand Arlene and Harold Schnitzer Sculpture Court, the installation is a suite of stained glass paintings in lightboxes installed within a freestanding octagonal architectural structure, creating a chapel for contemplation of the illuminated compositions.

Several of the artists featured in the exhibition have previously exhibited works at PAM or are represented within PAM’s encyclopedic collection, including Hank Willis Thomas, with whom PAM organized a traveling solo exhibition in 2019, and Jeffrey Gibson, whose work PAM commissioned and exhibited at the Museum in 2023 before serving as co-commissioner for his exhibition for the U.S. Pavilion at the 60th International Art Exhibition of La Biennale di Venezia (the Venice Biennale).

PAM has also previously featured works from the collections of Jordan Schnitzer in its exhibitions including En Suite: Contemporary Prints from the Collections of Jordan D. Schnitzer and The Jordan Schnitzer Family Foundation (2001), Location/Dislocation: Recent Prints from the Collections of Jordan D. Schnitzer and The Jordan Schnitzer Family Foundation (2003), Minimalism/Postminimalism: Selections from the Collections of Jordan D. Schnitzer and His Family Foundation (2007), Ellsworth Kelly Prints (and Paintings) (2012), Anish Kapoor: Prints from the Collections of Jordan D. Schnitzer (2015), Andy Warhol Prints (2016), Josiah McElheny’s Cosmic Love (2018), and Jeffrey Gibson: To Name An Other (2022).

This exhibition is organized by the Portland Art Museum in partnership with The Jordan Schnitzer Family Foundation. 

ABOUT THE JORDAN SCHNITZER FAMILY FOUNDATION

Jordan Schnitzer 

Courtesy of Jordan Schnitzer Family Foundation

The Jordan Schnitzer Family Foundation’s contemporary art collection is one of the most notable in North America. The Foundation has shared its art with millions across the U.S. and internationally through groundbreaking exhibitions, publications, and programs. Founded by ARTnews Top 200 Collector Jordan D. Schnitzer—whose passion for art began in his mother’s contemporary art gallery in Portland, Ore.—the Foundation has organized over 180 exhibitions from its collection and additionally loaned thousands of artworks to over 120 museums at no cost to the institutions. Jordan Schnitzer began collecting contemporary prints and multiples in 1988 and today is North America’s largest print collector. His Foundation’s collection consists of more than 22,000 works of art, including a wide variety of prints, sculptures, paintings, glass, and mixed media works.

PORTLAND ART MUSEUM - PAM

1219 SW Park Avenue Portland, OR 97205

portlandartmuseum.org

Jangueando: Recent Acquisitions, 2021-2025 Exhibition @ El Museo del Barrio, New York

Jangueando: Recent Acquisitions, 2021-2025 

El Museo del Barrio, New York 

August 28, 2025 — Summer 2026 

Laura Aguilar

Plush Pony #25, 1992

Gelatin silver print 

Collection of El Museo del Barrio, New York 

Gift of the Acquisitions Committee

Photo by Matthew Sherman 

william cordova 

2 tienes santo pero no eres Babalawo, 2023 

Mixed media 

Collection of El Museo del Barrio, New York 

Gift in memory of Rudy Perez

Danielle De Jesus 

Loyalty like this doesn't exist anymore, 2021 

Oil on linen 

Collection of El Museo del Barrio, New York

Gift of Noah Roy 

Photo by Dario Lasagni

Mundo Meza 

Kuikuro Jakui Flutes, 1976 

Acrylic on canvas 

Collection of El Museo del Barrio, New York 

Gift of the Estate of the artist 

Photo by David Frantz

El Museo del Barrio in New York presents Jangueando: Recent Acquisitions, 2021–2025, a dynamic exhibition showcasing 39 newly acquired works by 36 artists that reflect the Museum’s ongoing commitment to representing the cultural vibrancy and complexity of Latinx and Latin American communities. This exhibition marks a bold and celebratory moment for El Museo’s evolving Permanent Collection.

“Jangueando embodies El Museo del Barrio’s unwavering commitment to artists whose work captures the complexities, resilience, and brilliance of our Latine culture. In this moment of heightened threats, this exhibition becomes more than a celebration—it asserts the power of gathering—of hanging out—as a form of resistance, healing, and transformation.” —Patrick Charpenel, Executive Director, El Museo del Barrio.

The title is a play on words. It looks to janguear, Puerto Rican slang for socializing with friends. From hanging out to hanging art, here it uses the museum context to create a space of dialogue and gathering. At a time when many of the communities represented by El Museo del Barrio are under attack—through immigration raids, backlash against DEI initiatives, and the cancellation of federal grants—these multiple interpretations imply both solidarity and a political call to action through holding space and kinship.

Hiram Maristany

The Gathering, 1964/2022

Silver gelatin print

Collection of El Museo del Barrio, New York 

Museum Purchase

Carlos Motta with Higinio Bautista 

Shaman Boa, 2023 

Carved wood 

Collection of El Museo del Barrio, New York 

Gift of the Acquisitions Committee 

Benjamin Muñoz 

Contract Labor, 2024 

Chine collé woodcut on paper 

Collection of El Museo del Barrio, New York 

Gift of Benjamin & Julianna Muñoz

Jaime Muñoz 

Metal Only, 2022

Acrylic, glitter, paper, and velvet on wood panel

Collection of El Museo del Barrio, New York

Gift of Lio Malca

El Museo del Barrio’s Permanent Collection of more than 8,500 artworks was shaped by the Museum’s unique history as an artist-led, community-focused institution from when it was first established in 1969. The founding community of the Museum faced extreme racism and economic hardship and insisted that art had the power to help communities connect in the face of these trials and, together, imagine alternative ways of being.

Jangueando brings together 39 works by artists at various stages in their careers, representing a range of generations, cultural perspectives, and media—including painting, photography, sculpture, and video. Organized into thematic clusters, select groupings build on the museum’s historical strengths, such as Puerto Rican and Nuyorican portraiture, Latinx photography, and printmaking. The exhibition also highlights the evolution of the museum’s collecting strategy, with renewed focus on queer artists and those of Indigenous descent.

“Ever evolving, El Museo del Barrio’s distinct Permanent Collection stands as a testament to the artists, cultural workers, donors, and community members who have helped build and shaped it over time,” says Susanna V. Temkin, Interim Chief Curator, El Museo del Barrio. “Jangueando marks an exciting new chapter in the Museum’s evolution as a collecting institution—serving not only as a platform to debut new acquisitions, but also as a reflection of our shared, collective spirit. The exhibition offers both a framework and a provocation to what is at stake in being together.”

Juan Sánchez 

Still from Unknown Boricua Streaming: 

Nuyorican State of Mind, 2011 

Video, color with sound, 8:09 mins 

Collection of El Museo del Barrio, New York

Gift of Javier Lumbreras

Ethel Shipton 

Change Cambio, 2020 

House paint and vinyl on wooden panel 

Collection of El Museo del Barrio, New York 

Gift of the artist and Ruiz-Healy Art 

Daiara Tukano 

Hori, 2023 

Acrylic on canvas

Collection of El Museo del Barrio, New York 

Gift of Daiara Tukano and Millan

Artists whose works are on view in the exhibition include:

Eduardo Abaroa (1968, Mexico City, Mexico; lives in Mexico City)

Laura Aguilar (1959, San Gabriel, CA – 2018, Long Beach, CA)

José Alicea (1928, Ponce, Puerto Rico; lives in Río Piedras, Puerto Rico)

Lola Álvarez Bravo (1903, Lagos de Moreno, Mexico - 1993, Mexico City, Mexico)

assume vivid astro focus (formed in New York, NY in 2001)

Myrna Báez (1931, Santurce, Puerto Rico – 2018, Hato Ray, Puerto Rico)

Higinio Bautista

Eloy Blanco (1933, Aguadilla, Puerto Rico – 1984, New York, NY)

Luis Carle (1962, San Juan, Puerto Rico; lives in New York, NY)

Los Carpinteros (formed in La Havana, Cuba in 1992)

Manuel Chavajay (1982, San Pedro La Laguna, Guatemala, lives in San Pedro La Laguna)

william cordova (1971, Lima, Peru; lives in North Miami Beach, FL)

Abraham Cruzvillegas (1968, Mexico City, Mexico; lives in Mexico City)

Danielle De Jesus (1987, Brooklyn, NY; lives in Brooklyn)

Sandra Gamarra Heshiki (1972, Lima, Peru; lives in Madrid, Spain)

Luis Gispert (1972, Jersey City, NJ)

Matías González Chavajay (b. 1959, San Pedro La Laguna, Guatemala, lives in San Pedro La Laguna)

Pedro Rafael González Chavajay (b. 1956 in San Pedro la Laguna, Guatemala, lives in San Pedro La Laguna)

Julia Isidrez (1967, Itá, Paraguay; lives in Itá)

Antonio C. Ixtamer (b. in 1968 in San Juan la Laguna, Guatemala, lives in San Juan la Laguna, Guatemala)

Lidia Lisbôa (1970, Guaira, Brazil; lives and works in São Paulo, Brazil)

Marepe (Marcos Reis Peixoto) (1970, Santo Antônio de Jesus Bahia, Brazil; lives in Santo Antônio de Jesus)

Hiram Maristany (1945, New York, NY – 2022, St. Petersburg, FL)

Maria Teodora Mendez de González

Mundo Meza (1955, Tijuana, Mexico - 1985, Los Angeles, CA)

Carlos Motta (1978, Bogota, Colombia; lives in New York, NY)

Benjamin Muñoz (1993, Dallas, TX; lives in Dallas)

Jaime Muñoz (1987, Los Angeles, CA; lives and works in Pomona, CA)

Paula Nicho Cúmez (1955, Comalapa, Guatemala, lives in Comalapa)

Miguel Pou y Becerra (1880, Ponce, Puerto Rico - 1968 San Juan, Puerto Rico)

Juan Sánchez (1954, Brooklyn, NY; lives in Brooklyn)

Ethel Shipton (1963, Laredo, TX; lives in San Antonio, TX)

Valeska Soares (b. 1957, Belo Horizonte; lives in Brooklyn)

Laureana Toledo (1970, Ixtepec, Mexico; lives in Mexico City, Mexico)

Rigoberto Torres (1960, Aguadilla, Puerto Rico; lives in New York, Puerto Rico, and Florida)

Daiara Tukano (1970, Guaira, Brazil; lives and works in São Paulo, Brazil)

The exhibition is organized by the Curatorial Department of El Museo del Barrio: Zuna Maza, Lee Sessions, and Susanna V. Temkin, with María Molano Parrado.

EL MUSEO DEL BARRIO, NEW YORK

1230 5th Avenue at 104th Street, New York, NY 10029 

www.elmuseo.org

Dessins sans limite. Chefs-d'oeuvre de la collection du Centre Pompidou @ Grand Palais, Paris

Dessins sans limite. Chefs-d'oeuvre de la collection du Centre Pompidou

Grand Palais, Paris

16 décembre 2025 - 15 mars 2026

Avec plus de 35 000 dessins, la collection du cabinet  d'art graphique du Centre Pompidou est l'un des plus importants ensembles au monde d'œuvres sur papier des XXe et XXIe siècles. Ce fonds exceptionnel par sa richesse et sa diversité n'a encore jamais fait l'objet d'une grande exposition qui lui soit exclusivement consacrée. L'exposition Dessins sans limite est donc l'occasion de révéler pour la première fois les trésors inestimables de cette collection qui offre l'opportunité unique de comprendre comment ce medium s'est totalement réinventé au XXe siècle.

Car nombreux sont les artistes qui se sont emparés de ce mode d'expression originel et cathartique afin de transgresser les limites de l'art au point que le dessin est devenu aujourd'hui le laboratoire de tous les possibles. Au-delà de la feuille ou du traditionnel carnet, son domaine d'expression s'est étendu vers bien d'autres supports jusqu'à celui du mur ou de l'espace de l'installation. L'art graphique s'est ouvert à d'autres pratiques, étendant son champ à d'autres formes d'expression, photographiques, cinématographiques, ou encore numériques, ce qui rend ses frontières toujours plus mouvantes et ouvertes. Le regain d'intérêt porté par les jeunes générations d'artistes pour ce medium élémentaire et accessible est bien la preuve de sa grande actualité. S'il faut faire évoluer la notion même de dessin à l'aune des enjeux esthétiques et plastiques du XXIesiècle, cela n'exclut pas de se replonger dans les fondements d'une pratique qui, demeure par essence ouverte à l'invention et à l'expression de la pensée, qu'elle soit consciente ou inconsciente.

L'exposition Dessins sans limite met à l'honneur des pièces majeures de la collection rarement montrées notamment des œuvres de Balthus, Marc Chagall, Willem de Kooning, Sonia Delaunay, Jean Dubuffet, George Grosz, Vassily Kandinsky, Paul Klee, Fernand Léger, Henri Matisse, Amadeo Modigliani, Pablo Picasso, mais aussi Karel Appel, Jean-Michel Basquiat, Roland Barthes, Robert Breer, Trisha Brown, Marlène Dumas, William Kentridge, Robert Longo, Giuseppe Penone, Robert Rauschenberg, Kiki Smith ou encore Antoni Tàpies. Elle ne s'interdit pas d'aller au-delà du champ de la feuille de papier pour considérer le dessin en tant que performance, installation, ou bien encore dans sa forme animée.

Avec une sélection de près de 300 œuvres de 120 artistes, l'exposition « Dessins sans limites » n'a pas pour ambition de dresser une histoire du dessin aux XXe et XXIe siècles - une entreprise que la nature même du fonds rendrait impossible - mais propose une exploration sensible et subjective de la collection du Cabinet d'art graphique. Sans parti pris chronologique, le parcours est conçu sur le mode de l'anadiplose dans lequel les œuvres dialoguent à travers des face-à-face inédits et éclairants. Y sont considérées successivement quatre modalités du dessin, de la plus traditionnelle à la plus novatrice : étudier, raconter, tracer et animer.

Une exposition coproduite par le GrandPalaisRmn et le Centre Pompidou

Commissaires

Claudine Grammont, Cheffe de service, Cabinet d’art graphique, Centre Pompidou, Musée national d’Art Moderne

Anne Montfort-Tanguy, Conservatrice, Cabinet d’art graphique, Centre Pompidou, Musée national d’Art Moderne

GRAND PALAIS, PARIS

www.grandpalais.fr

Picasso and Klee in the Heinz Berggruen Collection @ Thyssen-Bornemisza Museum, Madrid

Picasso and Klee in the Heinz Berggruen Collection

Thyssen-Bornemisza Museum, Madrid

28 October 2025 - 1 February 2026

The Museo Nacional Thyssen Bornemisza presents a selection of fifty masterpieces by Pablo Picasso and Paul Klee that belonged to the German dealer and collector Heinz Berggruen and are now part of the holdings of the Museum Berggruen in Berlin. 

In 1950 Heinz Berggruen (Berlin, 1914–Paris, 2007) opened a legendary art gallery in Paris that specialised in modern art and was frequented over the next three decades by a prestigious clientele, including his friend Baron Hans Heinrich Thyssen-Bornemisza. From 1980 onwards Berggruen focused exclusively on expanding his own select holdings of twentieth-century works, assembling an outstanding collection that was later acquired by the German government in 2000. The establishment of the Museum Berggruen in the Charlottenburg district, as part of the Neue Nationalgalerie of Berlin, marked the fulfilment of the collector’s wish to not only preserve most of the collection intact for posterity but also be able to share it with the public. In a sense his case is similar to that of Hans Heinrich Thyssen-Bornemisza in Madrid the previous decade. 

While the building is closed for renovation, the Museum Berggruen has organised several international exhibitions since 2022 in Japan and China and, more recently, Europe to show different aspects of the collection’s highlights. The discourse of the exhibition at the Museo Thyssen-Bornemisza is a visual and intellectual dialogue between Heinz Berggruen’s two favourite artists: Pablo Picasso and Paul Klee.

MUSEO NACIONAL THYSSEN-BORNEMISZA

Paseo del Prado, 8. 28014, Madrid

www.museothyssen.org

Kosmos Klee. The Collection @ Zentrum Paul Klee, Bern - Permanent Exhibition with some 80 changing works from the collection

Kosmos Klee. The Collection

Zentrum Paul Klee, Bern 

Permanent Exhibition

Paul and Lily Klee with the cat Bimbo, 

Kistlerweg 6, Bern, 1935

Photo: Fee Meisel

Paul Klee

Ohne Titel (Villa am Langensee) 

[Untitled (Villa at the Langensee)], 1896

Watercolour on paper, 9,9 × 15 cm

Private collection, Switzerland, 

deposit at the Zentrum Paul Klee, Bern

Paul Klee

Ohne Titel (Rückenakt) [Nude from Behind], 1902

Pencil on paper on cardboard, 32,5 × 28,5 cm

Private collection, Switzerland, 

deposit at the Zentrum Paul Klee, Bern

The dynamic permanent exhibition devoted to Paul Klee invites visitors to immerse themselves in the life and work of this important modern artist. With some 80 changing works from the collection, Kosmos Klee offers a chronological survey of Klee’s artistic career. Biographical and archival material provide an insight into his life and time. In addition, the ‘focus room’ offers a space for smaller exhibitions devoted to individual aspects of Klee’s work, or contributions to the artist’s global reception.

Paul Klee

In den Häusern v. St. Germain 

[ In the Houses of St. Germain], 1914, 110

Watercolour on paper on cardboard

15,5 × 15,9/16,3 cm

Zentrum Paul Klee, Bern, donation of Livia Klee

Paul Klee

Tunesische Scizze [Tunisian Sketch], 1914, 212

Watercolour and pencil on paper on cardboard

17,9 × 12,2 cm

Zentrum Paul Klee, Bern, donation of Livia Klee

Paul Klee

Ohne Titel (Fabrikanlage) 

[Untitled (Factory Plant)], 1922

Watercolour and pencil on paper on cardboard

10 × 8,9 cm

Zentrum Paul Klee, Bern, donation of Livia Klee

Zentrum Paul Klee: The collection

The Zentrum Paul Klee is the world’s most important centre for research into Paul Klee’s life and work, and has one of the most significant collections of the artist’s drawings, watercolours and paintings. Paul Klee was primarily a draughtsman, which is why 80% of the collection of the Zentrum Paul Klee consists of works on paper, matching the collected works. Because of the fragility of the works as well as the large size and diversity of the collection, only parts of it can be displayed at once. Paul Klee enjoyed experimenting, not only in terms of content and form but also technically, using light-sensitive paints, inks and papers. For that reason the works need periods of rest between periods on display.

Paul Klee

Karneval im Gebirge 

[Carnival in the Mountains], 1924, 114

Watercolour on primed paper on cardboard

24 × 31,3 cm

Zentrum Paul Klee, Bern

Paul Klee

Fische im Kreis [Fishes in a Circle], 1926, 140

Oil and tempera on primed muslin on cardboard

42 × 43 cm

Zentrum Paul Klee, Bern, donation of Livia Klee

Paul Klee

Nordzimmer [North Room], 1932, 17

Watercolour on paper on cardboard

37 × 55 cm

Zentrum Paul Klee, Bern

Kosmos Klee

With Kosmos Klee. The Collection the Zentrum Paul Klee offers visitors the opportunity to immerse themselves in Paul Klee’s life and work, as well as in the unique collection of the institution. Some 80 rotating and chronologically organised works provide an overview of Klee’s artistic development, from the highly detailed early works via tendencies towards abstraction and the discovery of colour, to the reduced pictorial language of the later work. Each decade of Klee’s artistic career is identified by a colour in the exhibition, allowing visitors to find their way intuitively around the space. Brief introductory texts, biographical photographs and films give deeper insights into the different phases of the work and Paul Klee’s engagement with the people around him.

Paul Klee

Doppel gesicht [Double face], 1933, 383

Coloured pastel and pencil on paper on cardboard

33 × 21 cm

Zentrum Paul Klee, Bern, donation of Livia Klee

Paul Klee

Spätes Glühen [Late Glowing], 1934, 29

Pastel on damask on cardboard

26,8 x 32,5/34,3 cm

Zentrum Paul Klee, Bern, donation of Livia Klee

Aside from his works, the Zentrum Paul Klee also preserves the artist’s archive. In the dynamic permanent exhibition, different treasures from the archive are presented, revealing the various aspects of Paul Klee’s life. His love of music is reflected in his record collection and the scores that Paul Klee, a gifted violinist, played from. Klee’s favourite music can be heard as part of a podcast in the exhibition. Parts of the artist’s collection of natural materials, including shells, stones and pages from herbariums, display Klee’s close relationship with nature and natural processes. Other objects include his watercolour box, his schoolbooks, scribbled over with drawings, as well as letters.

Curator: Fabienne Eggelhöfer

And Cover Star Klee, Paul Klee Artworks on Book Covers Exhibition, Through September 14, 2025.

ZENTRUM PAUL KLEE

Monument im Fruchtland 3, 3006 Bern 

zpk.org

Bridget Riley @ Tate Britain, London

Bridget Riley 

Tate Britain, London 

21 July 2025 – 7 June 2026

Bridget Riley 

Concerto I, 2024 

Tate, Presented by the artist 2025 

© Bridget Riley 2025. All rights reserved

Tate announced that it has received the gift of a major recent painting by BRIDGET RILEY (b.1931), one of the most influential artists of our time. Premiering at Tate Britain as part of a new display of Riley’s paintings running until 7 June 2026, Concerto I 2024 has been generously donated by the artist and joins Tate’s holdings of her work spanning a remarkable six-decade working life.

Alex Farquharson, Director of Tate Britain said: “We are extremely grateful to Bridget Riley for her generosity in making such a significant gift to the nation. Riley’s work changed the landscape of abstract art and Concerto I demonstrates how she continues to expand her practice while upholding a commitment to exploring energy and sensation through colour and form. We’re delighted to be able to show the painting in Tate Britain’s free collection displays over the next year, and I have no doubt it will soon become one of the best-loved works in the gallery.”

Bridget Riley 

Elongated Triangles 5, 1971 

Presented by the Institute of Contemporary Prints 1975. 

© Bridget Riley 2025. All rights reserved 

Photo © Tate (Sonal Bakrania)

Renowned internationally for her visually vibrant works, Bridget Riley’s particular approach to painting involves the skilful balancing of forms and colour to explore perceptions of space, balance and dynamism. Her recent works, Concerto 1 and Concerto 2 reflect the artist’s abiding love of French Impressionist and Post-Impressionist painters and their engagement with colour. High in key, Concerto 1 is uplifting, while Concerto 2 explores hidden images.

Bridget Riley 

Fall, 1963 

Tate, Purchased 1963 

© Bridget Riley 2025. All rights reserved. 

Photo © Tate (Joe Humphrys)

Highlighting Riley’s dialogue with the sensory experience of sight, the new display includes Fall 1963, an important early abstract painting in Tate’s collection. The artist has described this painting as “a field of visual energy, which accumulates until it reaches maximum tension.” Using black and white curves, it evokes feelings of both elation and disturbance. Fall is being shown for the first time since receiving sustainable conservation treatment as part of GREENART, a groundbreaking new project researching ways to preserve cultural heritage using environmentally friendly materials.

Building on the long-standing relationship between Bridget Riley and Tate, this display is the artist’s fourth showing at the institution, having previously presented displays in 1973, 1994, and a large-scale retrospective survey in 2003. Fall was the first work by Bridget Riley to enter Tate’s collection in 1963 and has since been joined by nine paintings, 25 studies, and three works on paper by the artist. Concerto I is the first work by Bridget Riley created within this decade to be brought into Tate’s collection, expanding its representation of her practice.

Bridget Riley’s work is part of a series of regularly changing displays at Tate Britain to be staged since the gallery unveiled a full rehang in 2023. Collection works by Jacob Epstein, a key figure in the direct carving movement of the early 20th century, are currently installed in the Duveens Galleries at the heart of Tate Britain. Exploring the interplay between carving and modelling in Epstein’s work, monumental sculptures in stone are juxtaposed with bronze portrait busts. On 28 July, Pieter Casteels’s painting A Fable from Aesop: The Vain Jackdaw 1723 will be shown for the first time as part of a display looking at how artists have been inspired by birds. Several new artist interventions, first implemented with the rehang, will also appear throughout the collection. Found ceramics painted by Lubaina Himid will feature in the room exploring the rise of the urban metropolis in the era of Hogarth. Archive materials from Stuart Brisley’s time working on a project to record the experience of the inhabitants of Peterlee New Town and its surrounding villages will be included in the display exploring the place of abstract art in Britain’s post-war reconstruction.

TATE BRITAIN

Millbank, London SW1P 4RG

www.tate.org.uk

Une passion chinoise. La collection de Monsieur Thiers @ Musée du Louvre, Paris

Une passion chinoise 

La collection de Monsieur Thiers  

Musée du Louvre, Paris

14 mai - 25 août 2025

Il est un fait relativement méconnu : l’art chinois est bien présent au Louvre. Le musée du Louvre conserve au département des Objets d’art plus de 600 œuvres d’origine chinoise, principalement issues des collections d’Adolphe Thiers, d’Adèle de Rothschild et des collections royales. Parmi elles se trouvent de véritables trésors.

De récents travaux ont mis en lumière celles de la collection Thiers, journaliste, historien, figure politique majeure du 19e siècle : député, ministre, président du conseil et, enfin président de la République française.

L’exposition se donne pour vocation de révéler au grand public ces œuvres exceptionnelles, en les rapportant au contexte historique, diplomatique et culturel de leur création puis de leur collecte par Thiers. Elle met en lumière la passion jusqu’alors méconnue de Thiers pour la Chine.

Elle rassemble plus de 170 œuvres datant majoritairement du 18e et du 19e siècle : rouleaux, pages d’albums, gravures, estampes, porcelaines, jades, laques, ivoires, bronze ou en bois incrustés de pierres et de nacres… La première section présente brièvement Adolphe Thiers, son regard particulier sur l’art, son approche de la collection, sa passion pour la Renaissance. La seconde section, formant le cœur de l’exposition, présente la collection chinoise, prise dans son ensemble. Thiers voulant écrire sur l’art chinois collectionnait livres sur la Chine, documents et objets d’art de manière concomitante. 

L’exposition suit les grands thèmes que l’on peut observer dans sa collection : l’histoire ancienne et contemporaine, les images de la Chine (paysages, architecture, costumes), quelques thèmes clés de la culture chinoise (la langue, l’écriture, les lettrés), les « trois sagesses » (bouddhisme, taoïsme, confucianisme), la porcelaine chinoise – dont il était un expert reconnu et enfin l’art impérial. Dans ce dernier domaine, la collection compte plusieurs chefs-d’œuvre dont un exceptionnel rouleau du Qingming Shanghe Tu réalisé pour l’empereur Qianlong. 

Commissaire de l'exposition : Jean-Baptiste Clais, conservateur en chef au département des Objets dArt, musée du Louvre.

Un catalogue, sous la direction de Jean-Baptiste Clais, accompagne l'exposition (à paraître le 14 mai 2025).

MUSÉE DU LOUVRE, PARIS

louvre.fr

Edvard Munch: Technically Speaking @ Harvard Art Museums, Cambridge

Edvard Munch: Technically Speaking

Harvard Art Museums, Cambridge

March 7 - July 27, 2025

EDVARD MUNCH

Two Human Beings (The Lonely Ones), 1894

Etching and drypoint

Harvard Art Museums/Fogg Museum, 

The Philip and Lynn Straus Collection, 2023.559 

Photo © President and Fellows of Harvard College

EDVARD MUNCH

Two Human  Beings (The Lonely Ones), 1899 

Woodcut, printed in four colors of ink

Harvard Art Museums/Fogg Museum, 

The Philip and Lynn Straus Collection, 2023.602

Photo © President and Fellows of Harvard College

EDVARD MUNCH

Two Human Beings (The Lonely Ones), 1906–8.

Oil on canvas 

Harvard Art Museums/Busch-Reisinger Museum, 

The Philip and Lynn Straus Collection, 2023.551

Photo © President and Fellows of Harvard College

The Harvard Art Museums present an exhibition of works by Edvard Munch that examines the artist’s innovative techniques and the recurring themes across his paintings, woodcuts, lithographs, etchings, and combination prints. Highlighting the collaborative partnership between curatorial and conservation experts at the museums, the exhibition reveals new and ongoing technical research into Munch’s practice and shares recent discoveries about his materials and highly experimental methods. 

The exhibition showcases 70 works, primarily from the Harvard Art Museums collections. Thanks to a transformative gift from Philip A. and Lynn G. Straus, the museums now house one of the largest and most significant collections of artwork by Munch in the United States—a collection that is also distinctive for its technical variety. Key loans from the Munch Museum in Oslo include two paintings and eight examples of the artist’s materials used for printmaking, seven of which have never before been on display in the United States. 

Norwegian artist Edvard Munch (1863–1944) is well known for his innovative experiments in painting and printmaking. He often rendered the same subject matter in both mediums—repeatedly over decades—to investigate their distinctive possibilities. His highly expressive work deals with psychological themes of isolation, separation, anxiety, illness, and death, but also attraction and love. Technically Speaking explores Munch’s fascination with materiality, uncovers new avenues for thinking about his work, and delves into his unconventional techniques and the various themes he returned to again and again over many years.

“This exhibition showcases an exciting selection of Munch’s paintings and prints from a career that spanned more than 60 years,” said Elizabeth M. Rudy. “We are thrilled to present his work through a lens that is perfect for a university museum—one that reinforces our teaching and research mission—by sharing the results of our recent investigations into his techniques and materials.”

The exhibition begins with several iterations of Two Human Beings (The Lonely Ones), depicting a man and a woman standing at a shoreline, side by side yet isolated from one another. First painted by Munch in 1892 (a work later destroyed in an accident at sea), the motif is repeated in an etching from 1894 that depicts the original painting and five subsequent woodcuts that Munch produced between 1899 and 1917. The prints reveal the various intriguing woodcut and etching techniques the artist utilized and also show how he manipulated his jigsaw woodblocks to print different parts of a single work in different colors. They are displayed in the exhibition with the original steel-faced copperplate and jigsaw woodblock that were used to produce the prints. Two paintings on display continue the motif: the artist’s 1906–8 version from the Busch-Reisinger Museum’s collection is based on his woodcuts, and a later (final) version from around 1935, on loan from the Munch Museum, reverts to the composition of the couple used by Munch in his 1892 painting.

“Two Human Beings (The Lonely Ones) remains one of Munch’s most well-known subjects, and we are extremely fortunate to be able to trace his engagement with it over a period of more than 40 years and through nine works in our collections, supplemented by the generous loan of his last painting of the motif and two related matrices from the Munch Museum,” said Lynette Roth. “Together, they demonstrate the close relationship between painting and printmaking in Munch’s practice, his dedication to certain motifs over time, and his embrace of chance effects.”

Several other groupings highlight additional recurring themes in Munch’s work and how he experimented with their representation. Three woodcuts from the Woman’s Head against the Shore series show how Munch selectively printed his jigsaw woodblocks, omitting one of the pieces (the water) in one of the impressions. Four prints from The Kiss series—an etching and three woodcuts—portray a couple embracing in front of different backgrounds. Prints from Melancholy I and Melancholy III, on display with a rare example of Melancholy II, which Munch printed himself with his small hand-crank press, are shown with five of the artist’s original carved woodblocks. Four variations of Vampire II demonstrate how Munch sometimes combined lithographs with hand coloring and used woodblocks to add color as well. Also on display are three versions of Man’s Head in Woman’s Hair, including one used by Munch as a poster advertising an exhibition of his work at Diorama Hall in Kristiania (now Oslo).

Over the last several months, the works in the exhibition from Harvard’s collections have undergone technical study, including pigment analysis, selective treatments such as cleaning and varnish removal, and most of the prints were rematted and reframed. The painting Two Human Beings (1906–8) was varnished at some point in its history, which is not consistent with Munch’s practice of leaving his canvases without a unified glossy surface; this varnish has been removed. Train Smoke (1910) needed paint stabilization and cleaning to remove atmospheric grime, and Winter in Kragerø (1915) had its varnish removed to reveal a more vibrant snowy scene. This work was carried out by staff from the Straus Center for Conservation and Technical Studies, including Ellen Davis, Associate Paintings Conservator; Abby Schleicher, Assistant Paper Conservator; and Kate Smith, Senior Conservator of Paintings and Head of the Paintings Lab, and their findings are presented in the exhibition. Additionally, all six paintings on display from Harvard’s collections were reframed with new, historically accurate frames.

“Munch’s deep experimentations in painting and printmaking meant that he was constantly reworking his canvases and layering many different types of print techniques, which can become complicated to describe,” said Peter Murphy. “As research was underway and our conservators and curatorial team were deciphering how he created many of his works, I set out to break down the technical terms we were using in a friendly, digestible way. We hope that visitors will find the glossary useful, not only in the exhibition, but as something that can be kept and referenced beyond the show.”

The exhibition is curated by Elizabeth M. Rudy, Carl A. Weyerhaeuser Curator of Prints, and Lynette Roth, Daimler Curator of the Busch-Reisinger Museum; with Peter Murphy, Stefan Engelhorn Curatorial Fellow in the Busch-Reisinger Museum. This is the first major presentation at Harvard to examine Munch’s techniques and materials through the lens of the Strauses’ collection in 30 years, following the 1983 exhibition and publication Edvard Munch: Master Printmaker (organized by Charles W. Haxthausen and written by Elizabeth Prelinger) and Norma S. Steinberg’s 1995 exhibition and catalogue Munch in Color.

HARVARD ART MUSEUMS

32 Quincy Street, Cambridge, MA 02138

harvardartmuseums.org

Ritual Expressions: African Adornment from the Permanent Collection @ LACMA - Los Angeles County Museum of Art

Ritual Expressions: African Adornment from the Permanent Collection

Los Angeles County Museum of Art - LACMA

February 23 – July 6, 2025

Man’s Royal Ceremonial Robe, Africa, Nigeria, Yoruba people,

early 20th century 

Los Angeles County Museum of Art, 

Marcel and Zaira Mis Collection, 

purchased with funds from the LACMA 50th Anniversary Gala

Photo © Museum Associates/LACMA

Detail of Man’s Royal Ceremonial Robe, Africa, Nigeria, 

Yoruba people, early 20th century 

Los Angeles County Museum of Art, 

Marcel and Zaira Mis Collection, 

purchased with funds from the LACMA 50th Anniversary Gala

Photo © Museum Associates/LACMA

Man’s Headdress, Gishu or Acholi people, mid-20th century

Los Angeles County Museum of Art, 

Marcel and Zaira Mis Collection, 

purchased with funds from the LACMA 50th Anniversary Gala

Photo © Museum Associates/LACMA

Robe, Africa, Cameroon, Grasslands Bamum people, 

mid-20th century 

Los Angeles County Museum of Art, 

Marcel and Zaira Mis Collection, 

purchased with funds from the LACMA 50th Anniversary Gala

Photo © Museum Associates/LACMA

The Los Angeles County Museum of Art (LACMA) presents Ritual Expressions: African Adornment from the Permanent Collection. Bodily adornments, such as ritual textiles, clothing, and headwear, are created by the many cultures throughout the African continent. The exhibition explores how adornments are constructed to express societal conventions, and reveals their critical role in establishing and transmitting the wearer’s identity and rank. Ritual Expressions is a focused presentation that brings together more than 30 examples of a rich diversity of textiles, clothing, and headwear representing more than 20 cultures from Africa, all drawn from LACMA’s permanent collection.

The exhibition explores how adornments are constructed to express societal conventions, and reveals their critical role in establishing and transmitting the wearer’s identity and rank. For example, a striking 28-foot-long raffia palmfiber textile is wrapped around the body to transform into a dimensional ceremonial skirt, enlarging the wearer’s figure while indicating status and wealth within the community. Dramatic headdresses sculpted with diverse natural materials, such as gourds, raffia palms, bast fibers, and cotton, are embellished with distinctive elements, such as pigments, feathers, fur, shells, or glass beads. A person’s individuality, intelligence, and spirit are acknowledged by crowning the head with structures imbued with cultural traditions, which encircle and rise above the head, magnifying the subject’s stature and status. African adornments such as these are testaments to the meticulous craftsmanship of their creators, physically and symbolically linking the present with past legacies.

LACMA has developed and presented a number of exhibitions of African Art, including Shaping Power: Luba Masterworks from the Royal Museum for Central Africa (2013), African Cosmos (2014), and The Inner Eye: Vision and Transcendence in African Arts (2017), all curated by the late Dr. Mary (Polly) Nooter Roberts, consulting curator of African Art. Many of these exhibitions featured significant works from the permanent collection. Additionally, LACMA will be working with artists and creative leaders in West Africa on future collaborations and programs that will augment the museum’s exhibition programming.

This exhibition was organized by the Los Angeles County Museum of Art

Ritual Expressions is curated by Sharon S. Takeda, Senior Curator and Department Head of Costume and Textiles.

LOS ANGELES COUNTY MUSEUM OF ART - LACMA

5905 Wilshire Boulevard, Los Angeles, CA, 90036 

lacma.org

melanie bonajo, When the body says Yes @ Museum Boijmans Van Beuningen Collection

Museum Boijmans Van Beuningen acquires melanie bonajo’s When the body says Yes

melanie bonajo, When the body says Yes

© melanie bonajo / Museum Boijmans Van Beuningen

Museum Boijmans Van Beuningen receives When the body says Yes in its museum collection. The installation, created by Dutch artist melanie bonajo,  was exhibited during the summer of 2024 during the much talked about event Craving for Boijmans. There it functioned as a sensory end piece for a special art route through the closed museum building. In 2022, When the body says Yes was the Dutch entry for the 59th Venice Biennale.

When the body says Yes

This art piece by melanie bonajo is an installation consisting of a video artwork that is 43 minutes in length, framed by an organically-shaped scenography created in collaboration with fellow artist Théo Demans. When the body says Yes takes the viewer through and around the body, addressing the role of sexuality, body positivity, gender and consent within our society. There’s a very diverse group of people featured in the film, which challenges the viewer with a multitude of questions: on sexuality, the body and a personal vision on gender beyond the stereotypical patterns.

Craving for Boijmans

When the body says Yes was a prime attraction during Craving for Boijmans. It became an inspiring challenge and collaboration between the museum, the artists and the gallery to land the piece at the majestic Bodonzaal. It injected a humanity into what was an abandoned building. Not just thanks to the expressive, inclusive design, but most of all the topics that were addressed. When the body says Yes builds a bridge between the human who experiences it and the individuals who appear inside of it. Visitors have reacted in a positive way – often surprised or provoked – which speaks to the continuous social relevance of the subjects melanie bonajo addresses in their work.

melanie bonajo is an artist, filmmaker, sexological bodyworker, somatic sex coach and educator, cuddle workshop leader and activist. Through videos, performances, photographs and installations, bonajo explores current issues arising from living together in a capitalist system. melanie bonajo is represented by AKINCI.

MUSEUM BOIJMANS VAN BEUNINGEN

Museumpark 18-20, 3015 CX Rotterdam

www.boijmans.nl