AS WE TURN THE PAGES OF A SEASON RICH WITH MEMORIES, EACH MOMENT IS ILLUMINATED BY YOU—THE HEART OF OUR COMMUNITY. YOU WHO FILL OUR GALLERIES AND, THROUGH YOUR LOVE OF ART AND PLAY, BREATHE LIFE INTO OUR WALLS AND MAKE ALL THAT WE DO POSSIBLE.
2026
Jeremy Mikolajczak
The Sybil Harrington Director + CEO
Donald Opatrny
Chair of the Board of Trustees
EDITORIAL + DESIGN
Samantha Andreacchi
Executive Editor
Charlotte Quinney
Associate Editor
Claudia López
Copywriter
Samantha Santos
Copywriter
Kaylee Weyrauch
Project Manager
Airi Katsuta
Creative Director
CONTRIBUTING EDITORS
Nikki DeLeon Martin
Deputy Director
Jessica Jacobson
Director of Education
Helen Jean
The Jacquie Dorrance Curator of Fashion
Emilia Mickevicius
The Norton Family Assistant Curator of Photography
Colin Pearson
Curator of Asian Art
Christian Ramírez
The Cohn Assistant Curator of Contemporary Art + Director of Engagement
As we move through an extraordinary year at Phoenix Art Museum, the energy across our institution is unmistakable. From our galleries to our lecture halls, from sustained leadership to deepened community partnerships, the momentum we are experiencing is both inspiring and affirming. It reflects not only the strength of our vision, but the collective commitment of our artists, supporters, and audiences who continue to shape what this Museum can be.
We are especially proud to welcome two new Trustees, Trevor Halpern and Dan Costello, whose perspectives will help guide us into the future. Their addition comes at a time of meaningful growth, including our role as beneficiary of Scottsdale Ferrari Art Week, an exciting partnership that underscores the expanding visibility of the arts across our region. That same enthusiasm has been evident in our sold-out programs this season, from the Lenhardt Lecture featuring Caroline Kent to a powerful screening of Pretty Dirty, followed by a conversation with Marilyn Minter and Debi Wisch. Marilyn’s return as this year’s Fischl Lecture artist, alongside a dynamic evening with Rebecca Minkoff, reflects the breadth of voices we are proud to present.
This year also marks a milestone for the Arizona Costume Institute, celebrating 60 years of fashion at the Museum. With the opening of COLORWEAR: A Kaleidoscope of Fashion in the Kelly Ellman Fashion Galleries, we highlight fashion as both art and cultural narrative. The exhibition is accompanied by our first fashion-focused publication, produced with Scala Art Publishers, extending this work beyond our walls.
Our galleries have been anything but quiet. Cara Romero: Panûpünüwügai (Living Light) offers a powerful midcareer survey, with a special commission debuting this summer. Looking ahead, The Instrument of Troubled Dreams by Janet Cardiff and George Bures Miller will offer an immersive experience drawn from the renowned collection of Diane and Bruce Halle. Visitors can also look forward to Modern Treads: The Discount Tire Poster Collection, celebrating the 100th anniversary of Route 66, and the return of the Arizona Artists Awards, a cornerstone of our commitment to artists across the state.
At the same time, we pause to honor the loss of Phoenix-based artist George Thiewes, a longtime friend of the Museum and a deeply valued member
of our creative community. His legacy lives on through Zap, his site-specific installation in the Katz Wing that stands as a lasting tribute to his vision and connection to this institution.
This spirit of legacy is also reflected in the continued growth of our collection. Recent acquisitions, many now on view, deepen the stories we share and ensure our collection remains dynamic, relevant, and responsive.
None of this would be possible without the generosity of our community. I extend my deepest thanks to our pARTy in the Garden chairs, Catherine and Jim Tuton and Matthew Boland and Chris Greulich, whose leadership helped raise an extraordinary $1.3 million. We are also proud to recognize Lee and Mike Cohn as the inaugural PhxArt Luminary Award recipients, whose transformative gift will have a lasting impact on the care and growth of our collection.
As we look ahead, the future is bright. The 2026–2027 season is already taking shape as one of the most ambitious in our history, with bold exhibitions, expanded programming, and continued investment in our collection. We are building something enduring—an institution that reflects and serves a rapidly evolving city.
Finally, I dedicate this issue of PhxArt Magazine to outgoing Board Chair Don Opatrny and recognize the extraordinary partnership of his incredible other half, Judy Opatrny, and the Opatrny Family Foundation. Since joining the Board in 2018 and stepping into leadership during a pivotal post-pandemic moment, Don’s leadership came at a defining chapter in the Museum’s history, guiding the institution through renewal with clarity and conviction. Through the establishment of the Exhibition Excellence Fund, an endowment ensuring the long-term strength of our exhibition program, the Opatrny family has made a lasting impact. Don’s legacy is one of vision and stewardship, helping to define Phoenix Art Museum as a place of exchange, belonging, and possibility for all.
Sincerely,
Jeremy Mikolajczak the sybil harrington director + ceo phoenix art museum
MUSEUM NEWS
PHXART APPOINTS NEW BOARD MEMBERS
Trevor H. Halpern, J.D., is the Founder and CEO of Halpern Residential at eXp. He ranks in the top 1% of agents in Greater Phoenix and has been recognized by RealTrends as one of the top 1,000 agents in the United States out of 1.5 million. A Phoenix native and graduate of ASU’s College of Law, Halpern brings deep local knowledge and expertise in high-level strategy and leadership, guided by a commitment to service and relationship-building. Since 2013, Halpern has been involved with Men’s Arts Council, a non-profit organization that supports PhxArt exhibitions, acquisitions, and programs through unique fundraising events. He served on the Board of Directors of Men’s Arts Council for 10 years and served as President of Men’s Arts Council from May 2019 – May 2020.
Dan Costello is in his 19th season with the Phoenix Suns and Phoenix Mercury. As Executive Vice President and Chief Business Officer, Costello oversees all revenue-generation departments, including Ticket Sales and Service and Global Partnership Solutions. He also oversees the organization’s strategies involving business intelligence, broadcast media, and the Phoenix Suns and Phoenix Mercury's interest in the Legends Entertainment District. Under Costello’s leadership, the team has set franchise records for revenue. Costello has been recognized by the NBA as a Changemaker, winning the league award twice for creating partnerships (PayPal, Footprint) that shape an industry. Previously, Costello worked in television advertising with Cox Media. He is a former Honorary Commander at Luke Air Force Base and currently serves on the Phoenix Suns/Phoenix Mercury Foundation Advisory Board of Directors. He is a graduate of the University of Nevada, Las Vegas.
SCOTTSDALE ART WEEK
At the 2026 Scottsdale Art Week, Phoenix Art Museum was named the beneficiary of a $25,000 donation. During the Opening Night Vernissage, former PhxArt Trustee Francis Najafi, PhxArt Director Emeritus James K. Ballinger, and artist Cara Romero were honored for their outstanding achievements. PhxArt also participated in the fair’s cultural programming. The Norton Family Assistant Curator of Photography Emilia Mickevicius joined Romero, Scottsdale Art Week’s Indigenous Artist of the Year, for a behind-the-scenes look at the artist’s exhibition Panûpünüwügai (Living Light). Additionally, Jeremy Mikolajczak, the Museum's Sybil Harrington Director and CEO, led the conversation "Who Shapes the Art World? Markets, Money, and Meaning," exploring the ways private banks, collectors, galleries, art fairs, and museums impact the art market.
Installation view of Cara Romero: Panûpünüwügai, 2025. Phoenix Art Museum. Photo: Airi Katsuta
LENHARDT LECTURE: CAROLINE KENT
This past March, PhxArt presented the spring Lenhardt Lecture, featuring renowned American visual artist Caroline Kent. Kent discussed how her practice has evolved into a kind of Gesamtkunstwerk , a total art form articulating space, matter, and time through architecture, objects, and performance.
The Lenhardt Lecture is made possible through the generosity of The Dawn and David Lenhardt Contemporary Art Initiative and supported in part by Prime Steak Concepts.
WOMEN POWERED: REBECCA MINKOFF
In March, PhxArt hosted an unforgettable evening with fashion designer, entrepreneur, and women's empowerment advocate Rebecca Minkoff at Women Powered, an annual networking event that brings women across the Valley together to hear from dynamic women leaders. . Following a cocktail reception, Minkoff joined in conversation with Valley entrepreneur and fashion icon Chrissy Sayare, sharing stories of her success and how she's navigated the business world while living at the intersection of entrepreneurship and creativity.
Women Powered: Rebecca Minkoff is made possible through the generosity of Major Sponsor To Be Continued... A Consignment Boutique, and Supporting Sponsor Avnet. Additional support provided by Versant Capital Management, Austin Commercial, Freeman’s, and Catherine Tuton. Photo: Haute Media
ERIC FISCHL LECTURE: MARILYN MINTER
In partnership with Phoenix College (PC), PhxArt hosted in April the annual Eric Fischl Lecture Series. The evening included an exhibition of artworks by PC students, a presentation of the esteemed Vanguard Awards, and conversation between the lecture’s namesake— contemporary painter, sculptor, and author Eric Fischl, a PC alumnus—and Marilyn Minter. Known as one of the most provocative and influential contemporary artists of our time, Minter is recognized for her raw, hyperreal explorations of beauty, power, and desire across a variety of media.
BUILDING UPGRADES + TEMPORARY GALLERY CLOSURES
In partnership with the City of Phoenix, the Museum is undergoing a fire safety upgrade in the James K. Ballinger Wing, representing a significant investment in the long-term safety and preservation of the Museum’s building and collections. The Museum's Art of the Americas + Europe galleries, The Ullman Center for the Art of Philip C. Curtis, and The Thorne Miniature Rooms are closed to the public as part of the renovations. The galleries are anticipated to open in early Fall 2026.
ARIZONA COSTUME INSTITUTE
ACI CELEBRATES 60 YEARS OF FASHION AT PHXART
This year marks the 60th anniversary of the Arizona Costume Institute (ACI), a vital force behind the PhxArt fashion collection. Founded in 1966, ACI has supported the acquisition, preservation, and exhibition of garments and accessories of historical and aesthetic significance, while fostering a deeper appreciation for fashion through education and public programs.
Established by a group of influential women—including Mrs. Florimond Duke, Mrs. Denison Kitchel, and the Honorable Clare Boothe Luce—ACI emerged at a moment when Phoenix was rarely associated with high fashion. Today, PhxArt is one of only seven encyclopedic costume collections housed within a U.S. art museum, with more
than 9,000 objects and four distinct archives. ACI has also helped bring landmark exhibitions to life, including Generation Paper: Fast Fashion of the 1960s, India: Fashion’s Muse, and The White Shirt According to Me: Gianfranco Ferré.
Driven by a dedicated community of members and volunteers, ACI continues to bring fashion history to life through exhibitions, lectures, and signature events, including its beloved annual Holiday Luncheon. Looking toward the next 60 years, ACI will continue to shape the Museum's fashion program, proving that style, history, and innovation belong at the heart of the cultural conversation.
JOIN ACI TODAY
Enjoy exclusive access to private fashion exhibition openings, special pricing on select events, and invitations to the Lemon Library Book Club, featuring fashion-focused reads.
image credit : Christian Siriano, Gown, 2025. Cotton and silk tulle. Museum commission with funds provided by Arizona Costume Institute. Photo: Dan Vermillion; 2025 ACI Holiday Luncheon Committee members. Photo: Scott Foust Photography; 1968 Party. Phoenix Art Museum Archive; 1972
Norton Family Photography Gallery Through June 28, 2026
Cara Romero: Panûpünüwügai (Living Light)
Katz Wing Second Floor | Through June 28, 2026
Florentine Baroque: The Haukohl Collection Cummings Great Hall North | Through July 26, 2026
Radical Clay:
Contemporary Women Artists from Japan
Nagendran Wing for the Art of Asia Through September 9, 2026
Flowers of the Punjab: Textiles of India and Beyond
Khanuja Family Sikh Art Gallery Through September 9, 2026
The Collection: 1960—Now Katz Wing First Floor Through May 2, 2027
COLORWEAR: A Kaleidoscope of Fashion
Katz Wing Mezzanine, Kelly Ellman Fashion Galleries Through August 15, 2027
Carlos Amorales: Black Cloud Greenbaum Lobby and John Morrell Promenade
Yayoi Kusama: You Who Are Getting Obliterated in the Dancing Swarm of Fireflies
Nagendran Wing for the Art of Asia
OPENING SOON
Janet Cardiff and George Bures Miller: The Instrument of Troubled Dreams
Katz Wing Lower Level, Marshall Gallery
June 13, 2026
Modern Treads:
The Discount Tire Poster Collection
Katz Wing Lower Level, Hendler Gallery
June 13, 2026
Ecstatic Time: The Alchemy of Photography
Norton Family Photography Gallery
July 29, 2026
Arizona Artist Awards
Katz Wing Second Floor, Brown and Cavness Galleries
July 29, 2026
SEEDS OF SELF
CULTURAL IDENTITY
Education + Administration Building Community Art Gallery On view through May 31, 2026
WHAT MOTIVATES ME IS BEING AN AUTHENTIC ARTIST THAT CONTINUES TO GROW WITH THE SAME PASSION AND LEGACY MY ANCESTORS ESTABLISHED MANY GENERATIONS AGO. IT IS PART OF MY ARTISTIC PRACTICE TO PLANT THESE SAME SEEDS FOR FUTURE GENERATIONS. – EDGAR FERNANDEZ
Throughout the year, PhxArt activates its community art gallery, an intimate space inside the Education and Administration Building across from the Dorrance Sculpture Garden, to showcase special projects and installations developed in collaboration with local artists and community partners. This February, the Museum unveiled Cultural Identity, a joint mural created by Maryvale High School students and teaching artist Edgar Fernandez.
Fernandez is an award-winning, Phoenix-based multimedia artist whose practice foregrounds Indigenous perspectives and Xicano identity. Drawing deeply from his ancestral heritage, Fernandez is dedicated to producing culturally relevant work that reflects the community, often utilizing ancestrally connected imagery, maíz, portraiture, and images of harmony in his work. He is also dedicated to inspiring others to create.
During their collaboration with Fernandez, students learned the Polytab mural technique, a process in which Polytab fabric is primed, cut into smaller-sized pieces, painted, and adhered to the canvas to complete the mural. Each student created stylized corn grains to represent their personal cultural identity. When assembled, the mural formed a unified work that transformed individual expression into a collective vision, bringing together the students, the artist, and the faculty while celebrating the school’s diverse spirit. Cultural Identity is made possible by Men’s Arts Council.
image credit : Installation view of Cultural Identity, 2026. Phoenix Art Museum; Edgar Fernandez demonstrating the Polytab technique; Maryvale High School students.
THE LIGHT WITHIN
ILLUMINATING INDIGENOUS STORIES
CARA ROMERO: PANÛPÜNÜWÜGAI (LIVING LIGHT )
Katz Wing Second Floor
Brown and Cavness Galleries
February 27 – June 28, 2026
Panûpünüwügai
—a Chemehuevi concept translated as “living light”—describes a force that flows between people, spirit, and the natural world. This concept offers an entry point into the photographic universe of Cara Romero, where light is not merely aesthetic but relational: a connective energy binding land, body, and ancestral presence.
Romero’s first major solo exhibition, Cara Romero: Panûpünüwügai (Living Light), is on view at PhxArt this spring. Her images glow with vitality, illuminating Indigenous life from within. In doing so, Romero positions photography as a tool for cultural continuity—capable of carrying forward Indigenous knowledge and modern realities without contradiction. If light moves across generations, so does futurity—not distant, but already alive in the present.
This vision marks a profound reversal of the medium’s historical role. For generations, photography functioned as a colonial tool. Ethnographic portraits froze Indigenous peoples in time, framing them as vanishing relics, while mainstream media amplified caricatures of stoic warriors, exoticized maidens, and silent extras in their own lands—or they erased them altogether. It is from within this history of absence and distortion that Romero’s artistic voice emerges. Growing up between reservation life and public schools, she recognized how little space authentic Native stories occupied in the broader cultural imagination. Photography became her way of filling that silence—telling the stories she longed to see. Where the camera once helped consign Indigenous people to the past, Romero uses it to insist on presence and continuity.
Each of Romero’s images operate as a vessel of memory and possibility, holding ancestral knowledge and contemporary realities without contradiction. Infused with playful humor that challenges stereotypes while offering a knowing nod to Native communities, her photographs reveal the breadth of Indigenous life, drawing from ancestral knowledge rooted in Chemehuevi cosmovision, while rendering bold, futuristic portrayals of Indigenous women radiating strength, autonomy, and possibility. Rather than being speculative fantasies, these are grounded projections—visions that demonstrate that Indigenous futures are not hypothetical, but actively unfolding.
Anishinaabe scholar Grace L. Dillon articulates the concept underlying Romero's approach—what Dillon calls Indigenous Futurisms—in her landmark anthology Walking the Clouds: An Anthology of Indigenous Science Fiction. Dillon argues that Indigenous peoples have always imagined futures, long before science fiction emerged as a formal genre. For many Indigenous cosmologies, time is not linear but cyclical and continuous, with ancestral knowledge shaping the present as much as the future. What lies ahead is not separate—it is carried forward. Dillon also expands the meaning of science and technology. Indigenous technologies are not limited to machines; they include ceremony, ecological knowledge, kinship systems, and story. In Romero’s hands, photography becomes such a technology—not a colonial instrument of classification, but a relational tool. Her process is collaborative and intentional. Subjects are not passive sitters but rather co-authors in the construction of their image. Authorship, when shared, transforms the future into something co-created—held and shaped by community.
Consider, for example, Romero's photograph of Indigenous youth moving across the Mojave Desert as Chemehuevi time travelers. At first glance, the scene carries a sense of play: children mid-stride, dust lifting beneath their feet, desert light washing the landscape in warmth. Yet on closer reflection, the image stages a powerful temporal convergence. These youth exist beyond the constructed fantasy; they are embodiments of Indigenous futurity. They inhabit nonlinear time, where ancestral presence and speculative possibility move together. Behind them, wind turbines—symbols of contemporary energy and technological progress—rise against the horizon, standing on Indigenous land that holds far older knowledge systems. The desert is not an empty backdrop but a homeland, archive, and collaborator. Here, futurity does not descend from industrial modernity alone—it rises from the land itself.
Romero frequently borrows the visual language of the Western canon and mainstream America only to shift its center of gravity. Familiar compositions draw viewers in, but their repositioning unsettles expectations, reimagining history through archetypal visual frameworks. Humor threads through many of these scenes, a subtle gesture that Native viewers recognize instantly. This is not parody for its own sake but a recalibration of narrative agency—an assertion that Indigenous presence belongs not only in history, but in what lies ahead.
This disruption of the canon is particularly evident in Romero’s First American Dolls series. While the images whimsically reference doll culture, they simultaneously counter misrepresentation through care and cultural continuity. Romero and her collaborators selected objects infused with cultural meaning—regalia passed down from grandparents, beadwork stitched with memory—and together shaped how they wished to appear. The making of each image became an act of care. The resulting portraits radiate pride and specificity, yet the deeper story lies in the intergenerational exchange that produced them. In this way, Romero enacts what Native scholars have termed survivance : not mere survival, but an active, creative presence that carries knowledge forward. And it is within that forward movement that Romero’s work resonates most powerfully. Her photographs do not ask viewers to imagine whether Indigenous communities will endure. They emerge from endurance—and move beyond it, toward joy, humor, glamour, and sovereignty. Living light, after all, is never static. It travels. It connects. It transforms.
In Cara Romero’s universe, the future is not waiting to be discovered. It is Indigenous—already here, already bright, and always in motion.
Panûpünüwügai (Living Light) is organized by the Hood Museum of Art, Dartmouth College, and curated by Jami Powell, PhD, Associate Director of Curatorial Affairs and Curator of Indigenous Art at the Hood Museum of Art. Its presentation at Phoenix Art Museum is coordinated by Emilia Mickevicius, PhD, the Norton Family Assistant Curator of Photography.
Its Phoenix premiere is made possible by the Carl and Marilynn Thoma Foundation, Every Page Foundation and John and Lois Rogers. Additional support provided by Prime Steak Concepts. Contemporary art exhibitions and projects are made possible in part by the Rob Walton, Jordan Rose, and Rose Law Group Fund for Contemporary Art. All exhibitions at Phoenix Art Museum are underwritten by the Phoenix Art Museum Exhibition Excellence Fund, founded by The Opatrny Family Foundation with additional major support provided by Joan Cremin.
PHOENIX ART MUSEUM IS NOT SIMPLY A PLACE TO VIEW ART— IT IS A PLACE WHERE IMAGINATION IS NURTURED, CURIOSITY IS SPARKED, AND FAMILIES COME TOGETHER ACROSS GENERATIONS AND CULTURES.
As Arizona’s early childhood agency, First Things First believes that strong communities create strong futures for children. Supporting Phoenix Art Museum is a natural extension of that belief. The Museum is not simply a place to view art — it is a place where imagination is nurtured, curiosity is sparked, and families come together across generations and cultures.
As early childhood professionals who have spent more than 20 years in early childhood education and systems leadership, we understand that brain development, identity formation, and creativity begin long before kindergarten. The Museum creates spaces where children can see themselves reflected, explore new perspectives, and engage in meaningful learning experiences alongside their caregivers. That alignment with our mission to support children from birth to age five to be ready for kindergarten is what first inspired our partnership and it continues to inspire our support today.
We are especially passionate about initiatives that make the Museum accessible to families who might not otherwise see it as “for them.” When families feel welcomed, when programming is culturally responsive, interactive, and designed with children in mind, the Museum becomes a true community hub. That kind of intentional inclusion matters deeply to First Things First.
Supporting the visual arts is an investment in creativity, critical thinking, and cultural understanding — all skills that are essential for thriving communities. For organizations, supporting institutions like Phoenix Art Museum demonstrates a commitment to holistic community development. The arts bring people together across differences. They foster dialogue, inspire innovation, and help communities imagine new possibilities. That is not peripheral work. It is foundational work. When we invest in art, we invest in connection, imagination, and possibility. And those are the very qualities that help children and communities reach new heights.
COLORWEAR: A KALEIDOSCOPE OF FASHION
Katz Wing Mezzanine
Kelly Ellman Fashion Galleries
On view through August 17, 2027
Giorgio di Sant'Angelo, Bodysuit with wrap skirt, spring 1991. Polyester stretch mesh with sequin embroidery; dyed silk chiffon. Gift of The Metropolitan Museum of Art. Photo: Dan Vermillion
CHROMATIC CONSTELLATION
Through the artistry of digital prints, delicately dyed feathers, sparkling Swarovski crystals, and vivacious silk scarves, fashion communicates the emotional cadence and cultural history of color.
Colorwear: A Kaleidoscope of Fashion , on view now at Phoenix Art Museum, is a chromatic celebration of sumptuously saturated garments and accessories from the PhxArt fashion collection that showcase the ways designers have utilized color to convey identity and status, reflect the world around them, and explore the interaction between color and materiality.
Visitors discover how stylistic and technological experimentation have yielded saturated shades, playful patterns, and luminous embellishments. Innovating with natural silhouettes and stretch fabric, Giorgio di Sant’Angelo’s iridescent bodysuit and seemingly weightless chiffon skirt evoke the drama and energy of the natural world. The couture look is reminiscent of a monsoon thunderhead’s prismatic effect. Like a summer storm, the garment appears to scatter vibrant hues of cadmium and coral the way storm
clouds do across a desert landscape. Elsewhere in the exhibition, vignettes featuring sculptural shoes, psychedelic scarves, and bejeweled Judith Leiber pillboxes demonstrate how color can ensure even the smallest accessories make a big statement.
Like the shifting patterns of a kaleidoscope, Colorwear will display a rotation of garments from designers such as Hubert de Givenchy, Tina Leser, Christian Louboutin, and Emilio Pucci, along with the premiere of an iconic new commission later this fall by American designer Christian Siriano (see p. 6). On your next visit to the Museum, allow your senses to be awakened by lilac, cerulean blue, shamrock green, sunflower yellow, umber, and oxblood, and consider what the spectrum of colors radiating across the runway sparks for you. But for now, enjoy a special shoe edit, showcasing footwear from the featured exhibition.
continued on page 16
Colorwear: A Kaleidoscope of Fashion is organized by Phoenix Art Museum and curated by Helen Jean, the Jacquie Dorrance Curator of Fashion at Phoenix Art Museum, and Summer Rye, Fashion Curatorial Assistant & ACI Liaison. The exhibition is made possible through the generosity of Jacquie and Bennett Dorrance and Arizona Costume Institute. All fashion exhibitions at Phoenix Art Museum are underwritten by The Kelly Ellman Fashion Endowment Fund and The Thomas Carlton Rogers II Fashion Exhibition Fund. All exhibitions at Phoenix Art Museum are underwritten by the Phoenix Art Museum Exhibition Excellence Fund, founded by The Opatrny Family Foundation with additional major support provided by Joan Cremin.
STEP INTO
COLOR
THE SHOE EDIT
PINK
Pink has evolved from a color of the aristocracy to one symbolizing joyous escapism and resistance. Made fashionable in the 18th century by the French court’s Madame de Pompadour, pink was worn as a gender-neutral symbol of opulence before it became associated with femininity in the 1950s—and before millennial pink gained pop culture prestige. These rose shoes supported by a royal purple bloom suggest a union of gentle power, softness, and strength.
BLACK
Described as one of the most complete colors, black is a hue that contains the entire palette within it. It has signified mourning—from the dark, woolen garments of ancient Rome to Queen Victoria’s symbolic grief—and expressed sophisticated chicness with Coco Chanel’s 1926 introduction of the little black dress. Subculture’s glossy vinyl and weathered leather later announced black’s rebel yell. These boots evoke a poetically dark sensibility, revamping Victorian style.
GOLD
A prized metal, gold has conveyed wealth and status through history. Gold embroidery decorated royal garments and ecclesiastical vestments and adorned high-status fashions in medieval and Renaissance Europe. In ancient Egyptian society, gold was a powerful talisman. Representing the brilliance and life-giving force of the sun, it symbolized divinity and eternity. These uncanny stilettos recall the gold toe caps worn on the journey into the afterlife, and feature a hint of Schiaparelli’s signature shocking pink.
NEED A LITTLE COLOR IN YOUR LIFE?
This fall, take home a copy of the exhibition’s companion book, Colorwear: A Kaleidoscope of Fashion. From primary to tertiary colors, metallics to neutrals, hue-themed chapters feature insights from Dressed: The History of Fashion podcast hosts April Calahan and Cassidy Zachary, who situate the PhxArt fashion collection within historical contexts . Preorders are available now at The Museum Store.
image credits: Prada, Shoes, spring/summer 2008. Silk satin, leather, and plastic. Gift of Cheryl Fine; Karl Lagerfeld for Chanel, Boots, fall 1994. Leather and patent leather. Gift of Mrs. Kelly Ellman in memory of Dorothy Mather; Daniel Roseberry for Schiaparelli, Stiletto, 2024. Leather, silk satin, and gold-and silver-plated formed metal. Museum Purchase with funds provided by The Kelly Ellman Fashion Endowment Fund.
JAY GOODFARB
PEOPLE SHOULD SUPPORT MUSEUMS AND ARTISTS: FOR THE DISCOVERY, CONNECTION, AND SHARED ENCOUNTERS WITH ART THAT TAKE YOU OUT OF EVERYDAY LIFE, INSPIRE NEW PERSPECTIVES, AND BRING PEOPLE TOGETHER.
Gail Adams, my late wife, loved design, contemporary art, and fashion. She was the one who truly introduced me to art. We became great friends with Jim Ballinger, director emeritus of Phoenix Art Museum, and were active members in Circles of Support and the former support group Contemporary Forum (1982 - 2019), spending time visiting artists’ studios and building a rich social network. I’m happy to once again be involved with the Museum and proud to support the James K. Ballinger Wing Initiative and Arizona Costume Institute.
Gail served as Board President of ACI from 2012 through 2013, a tumultuous financial period for the support group. Under her leadership, that annual Holiday Luncheon sold more tickets than ever before, making it the most successful year in its then history. ACI traveled to England, hosting memorable events and strengthening the organization’s financial health. Every conversation with Gail reflected her passion for fashion, the PhxArt
Collection, and its staff. Education was her top priority for both Members and the public. She had a rare ability to distill the most important and actionable insights, regardless of outcome, and always sought solutions to life’s challenges. For these reasons, I am honored to support the ACI Haute Couture Speaker Series in her memory for the next five years.
Art enriches a community because it helps create one. Growing up, I was more involved in sports and did not understand how powerful art could be until Gail introduced me to the Museum. After several artists’ studios, I came to appreciate the time, energy, and discipline required to create incredible works across all media. This is why people should support museums and artists: for the discovery, connection, and shared encounters with art that take you out of everyday life, inspire new perspectives, and bring people together.
IN DREAMS AWAKE
OUR TRUEST LIFE IS WHEN WE ARE IN DREAMS AWAKE. —HENRY DAVID THOREAU
Over the past three years, the Norton Family Assistant Curator of Photography Emilia Mickevicius has mined the collection of the Center for Creative Photography, curating exhibitions on humor and the body. During her research, she repeatedly came across images that prompted surprise and wonder. These images transformed the world in mysterious ways, creating rifts in the continuous flow of lived time. Curious compositions distorted perceptions of space and turned objects into dreamlike forms. This summer, Phoenix Art Museum brings together these wondrous images in what Mickevicius calls her “love letter to photography.”
Opening July 29 in the Norton Photography Gallery, Ecstatic Time: The Alchemy of Photography considers how photographers capture—and evade—reality as we know it. The exhibition takes its name from the theory of “ecstatic time,” elucidated by 20th-century writer, photographer, and filmmaker Hollis Frampton. Frampton’s theory suggests that while dreaming, fantasizing, or making art, the human mind experiences the world differently. According to Frampton, photography can reveal or revel in experiences outside of the measured and mechanistic tempo of clock time, suggesting that our relationship to time and seeing is less straightforward than we think. The title of the exhibition also invokes the ancient speculative philosophy and “magical science” of alchemy. The reference is a nod toward the way photographers use reality as raw material, only to turn it into something else entirely through captivating, if not astonishing, effects.
ECSTATIC TIME: THE ALCHEMY OF PHOTOGRAPHY
Katz Wing Second Floor
Norton Photography Gallery
Opening July 29, 2026
Visitors to the exhibition will discover both evocative and enigmatic compositions. Edward Weston’s seemingly illogical shot of the backlot of Metro-Goldwyn-Meyer Studios immerses the viewer in the surreal. A camera obscura image by Abelardo Morell inverts our view by projecting the grounds of Lacock Abbey upside down. Long exposures of the sea by Hiroshi Sugimoto turn a familiar landscape into an ethereal abstraction. A conventional photograph of a Paris skyline taken by André Kertész becomes a portal to a dreamy world after a plate negative is accidentally broken while in the care of a friend. MIT professor Harold Edgerton freezes the instant a single drop of milk becomes a regal, opulent crown with his innovative stroboscopic flash.
These examples are just some of the exhibition’s rapturous moments that transform our understanding of time, space, and everyday objects. Ecstatic Time marches to its own rhythm, presenting the extraordinary nature of ordinary things in an enchanting celebration of creative photography.
Ecstatic Time: The Alchemy of Photography is co-organized by Phoenix Art Museum and the Center for Creative Photography. The exhibition is curated by Emilia Mickevicius, PhD, the Norton Family Assistant Curator of Photography. All exhibitions at Phoenix Art Museum are underwritten by the Phoenix Art Museum Exhibition Excellence Fund, founded by The Opatrny Family Foundation with additional major support provided by Joan Cremin.
JANET CARDIFF AND GEORGE BURES MILLER: THE INSTRUMENT OF TROUBLED DREAMS
Katz Wing Lower Level
Marshall Gallery
On view June 13, 2026
What if a single keystroke could summon a storm, a memory, or a passing raven? Now it can, this summer at Phoenix Art Museum.
Beginning June 13 in the Katz Wing, The Instrument of Troubled Dreams (2018) invites visitors to engage with sound, memory, and visual art through an interactive installation by Canadian contemporary artists Janet Cardiff and George Bures Miller. Collaborators since 1995 and known for their immersive works exploring the effect of sound on space, time, and memory, Cardiff and Miller created The Instrument of Troubled Dreams using a 1960s Mellotron keyboard and 23 speakers. Each of the Mellotron’s 72 keys is programmed to play a distinct sound, musical passage, or vocal track. As each key is activated, audio effects build and dissolve: a seagull cuts through the air; a lone rower glides across a flooded landscape; a medieval chorus projects in unison. Interwoven with Cardiff’s voice, each effect immerses participants—all in surround sound.
The installation also features rows of seating throughout the gallery space, offering a place of rest where passersby can witness as their fellow visitors create sonic vignettes. In this way, The Instrument of Troubled Dreams encourages us to act as explorers, composers, and
listeners—each of us an active participant in creating and experiencing layered soundscapes that unfold in real time and conjure imagery that is as fleeting and immersive as dreams.
Contemporary art exhibitions and projects are made possible in part by the Rob Walton, Jordan Rose, and Rose Law Group Fund for Contemporary
All exhibitions at Phoenix Art Museum are underwritten by the Phoenix Art Museum Exhibition Excellence Fund, founded by The Opatrny Family Foundation with additional major support provided by Joan Cremin.
Janet Cardiff and George Bures Miller: The Instrument of Troubled Dreams is on loan from the Diane and Bruce Halle Collection.
Janet Cardiff and George Bures Miller: The Instrument of Troubled Dreams is organized by Phoenix Art Museum and coordinated by Christian Ramírez, the Cohn Assistant Curator of Contemporary Art and Director of Engagement.
Nagendran Wing for the Art of Asia Art of Asia Galleries Through August 9, 2026
DEEP LOOKING
Vase with cityscape and Shinkansen bullet train, 1965–2000, Japanese.
Splendors of East Asian Cloisonné is organized by Phoenix Art Museum and curated by Colin Pearson, Curator of Asian Art.
All exhibitions at Phoenix Art Museum are underwritten by the Phoenix Art Museum Exhibition Excellence Fund, founded by The Opatrny Family Foundation, with additional major support provided by Joan Cremin.
image credit : Vase with cityscape and Shinkansen bullet train, 1965–2000, Japanese. Cloisonné enamel and silver foil on copper. Gift of Waynor and Laurie Rogers in honor of the Museum's 50th Anniversary. Photo: Ken Howie.
This Japanese vase stands out from the rest of the cloisonné enamel in the Phoenix Art Museum Collection due to its vibrant decorative scheme and use of advanced optical effects. The modernist cityscape is rendered using the ginbari technique, in which artisans emboss layers of silver foil on the base copper vessel to create a sense of depth under transparent enamels. This effect adds a shimmer to the densely packed buildings, depicted in bright colors and a textured, modernist style.
The blurry band of color and small circles covering the lower portion of the cityscape is recognizable as the iconic Shinkansen high-speed rail (often referred to as Japan’s “bullet train”) and is embedded into a layer of clear enamel that sits over the cityscape.
This urban scene symbolizing modernity, technology, and rapid transportation contrasts dramatically with other cloisonné enameled vases, typically decorated with flowers, birds, koi fish, or Chinese motifs. Furthermore, the anonymous artisan has eliminated all sign of the wire outlines traditionally used to contain and highlight the areas of enamel, giving the entire vase a fluid, contemporary appearance unlike any other.
A RESONANT REMEMBRANCE
THE COLLECTION: 1960S –NOW
Katz Wing First Floor
Anderman Gallery
On view through April 2027
Reflections Between Flashes (2023) by contemporary Vietnamese artist Tuan Andrew Nguyen, marks a major new acquisition made possible through the generosity of the Men’s Arts Council. Co-founder of The Propeller Group and a 2025 MacArthur Fellow, Nguyễ n is a multidisciplinary artist whose practice positions memory as a tool for resistance and collective empowerment. He foregrounds storytelling as a healing force, one he believes capable of cultivating empathy and solidarity.
His large-scale installation now on view in the Katz Wing recalls the lyrical motion of Alexander Calder’s mobiles, yet Nguyễ n’s approach is rooted in what he calls “material reincarnation." To create this work and others from his series Objects from Ordnance, Nguyễ n salvaged metal from unexploded ammunition and war relics found in Qu ả ng Tr ị , Vietnam, which he then recast into tuned plate gongs calibrated to 432 Hz—often considered by sound therapy researchers to be one of the healing frequencies. Suspended overhead, the kinetic installation shifts with ambient air currents, producing a meditative soundscape. Now part of the ongoing exploration of contemporary art in the exhibition The Collection: 1960s–Now, visitors can experience how the work transforms remnants of war into an instrument of repair and collective reflection— a resonant remembrance.
On January 17, 2026, artist George Thiewes passed away at the age of 82. Born in 1943 in Minnesota, Thiewes moved through a succession of Upper Midwest colleges before earning a BFA from Mankato State College and an MFA from the School of the Art Institute of Chicago.
In the 1960s, Thiewes first made his mark as part of the American Studio Glass Movement, when glass transformed from functional objects to intricate works of art. The movement redefined glass, allowing artists like Thiewes, James Carpenter, Harvey Littleton, and others to harness its potential as a creative medium. For more than two decades, Thiewes pushed the expressive possibilities of glass. His work is in major public and private collections, including the Smithsonian Museum, Toledo Museum of Art, the Art Institute of Chicago, and The Corning Museum of Glass.
Teaching was central to Thiewes' practice. After receiving a Penland Grant from the National Endowment for the Humanities, the artist became a resident glassblower and instructor at the Penland School of Crafts in North Carolina. He later taught at the School for American Craftsmen at Rochester Institute of Technology and at the Art Institute of Chicago, shaping generations of artists who learned from his rigor and curiosity.
After more than 20 years, Thiewes shifted away from glass, turning instead to painting and sculpture. During this period of evolution, he created Zap (2008), a painted steel sculpture now in the PhxArt Collection. Angular, bold, and charged with motion, the work carries the same experimental spirit that defined his glass works, translated into a new visual language. Zap is on view now in the Katz Wing.
image credit: Photo courtesy of the Thiewes Family; George Thiewes, Zap, 2008 (detail). Painted steel. Museum purchase with funds provided by Tod Williams and Billie Tsien, Gail Adams and Jay Goodfarb, Stella and Gil Exler, and the Patricia Pallas Memorial Fund. Photo: Ken Howie
On April 10, Phoenix Art Museum hosted the annual pARTy in the Garden, where guests enjoyed exclusive access to Florentine Baroque: The Haukohl Collection , delicious fare and cocktails, and a lively afterpARTy. This year’s event raised a record-breaking $1.3 million, all in support of the Museum’s exhibitions, arts-education programs, free-access times, and vital operations.
The evening also marked the presentation of the firstever PhxArt Luminary Award, a new annual award that honors individuals whose vision and support have illuminated the Museum’s path toward becoming the global institution it is today. During the gala, the Museum
honored Lee and Mike Cohn as the award’s inaugural recipients, recognizing them for their longstanding support of PhxArt through service on the Museum’s Board of Trustees, foundational and continued support of the Arizona Artist Awards program, and outstanding gifts of contemporary art. Additionally, the Museum announced publicly for the first time that in the past year, the Cohns made the single largest gift in the Museum’s history, enabling the institution to establish an endowment dedicated to the direct care and expansion of its contemporary art collection, ensuring its vitality now and well into the future.
Luminary Award Recipients: Lee + Mike Cohn
The pARTy Chairs: Chris Greulich + Matthew Boland, Catherine + Jim Tuton
Thank You
TO OUR 2026 pARTy IN THE GARDEN SUPPORTERS
Kimberly + Nariman Afkhami
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Gensler
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(top to bottom)
Nikki DeLeon Martin, Jeremy Mikolajczak, Olga Viso, Ritta Fagain; Trevor Halpern, Sir Mark Fehrs Haukohl, Beth Halpern; Andrew Nava, Mayor Kate Gallego, Rob Taylor, Vice Mayor Kesha Hodge Washington, Bettina Nava; The pARTy in the Garden
on view through July 26, 2026
Florentine Baroque: The Haukohl Collection is organized by Sir Mark Fehrs Haukohl with the generous support of the Haukohl Philanthropies. Its presentation at Phoenix Art Museum is coordinated by Rachel Sadvary Zebro, Associate Curator of Collections.
Florentine Baroque: The Haukohl Collection is made possible by FOCUS on European Art. Additional support is provided by Joanna and Mick Levin. All exhibitions at Phoenix Art Museum are underwritten by the Phoenix Art Museum Exhibition Excellence Fund, founded by The Opatrny Family Foundation with additional major support provided by Joan Cremin.
image credit: Onorio Marinari (1627-1715), Apollo with a Lyre (detail) Oil on canvas. Haukohl Collection. Photo Credit: MNAHA, Tom Lucas
THANK YOU.
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The Museum gratefully acknowledges those whose annual gifts support our exhibitions, educational programs, activities, and services for the community.
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To Be Continued... A Consignment
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Russell Cowles
Mary Meeker Cramer
°Philip C. Curtis
Ralph Dudley Daniel
Paul Hyde Davies
°Barbara C. Dow
Nancy L. Durham
Lucille B. Earle
Liese Lotte and Albert Eckstein
Jeannette Shambaugh Elliott
°Darby and Herschel Epstein
Josephine "JoJo" Fabrizi
Richard Faletti
Donald Farnsworth
Allen and °Charlesa Feinstein
Carol and Harold Felton
Arthur Fishman, M.D.
Colin R. Floyd
Eunice Fort
Reginald J. Franklin
Margaret P. Gale
Georgia Gelabert
George F. Getz, Jr.
Marie Connor Girardin
Ann and Chet Goldberg
Bernard Grebanier
Ruth Gunston
Rose O. Gustafson
Judith L. Hardes
Jeanie Harlan
Delbert Harr
°Sybil Harrington
Margareta Harris
Ed Helms Trust
Kax and °Bob Herberger
Barbara Turner Hitchcock
Stephen M. Hoover
Hugh Hard Horner
Dr. Bill Howard
Arleen W. Hughes
Ernest and Margaret Iglauer
°Edward "Bud" Jacobson
Mrs. Oliver B. James
Kathleen Jeffords
Vivienne B. Jennings
°Dr. Eric Jungermann
Eva Jungermann
Robert D. Kaufmann
Nan Kempner
William and Sharon Lee Ketai
Margaret Kirkpatrick
Helen M. Kollmeyer-Herzberg
Nancy Kucera Estate
Betty M. La Fevers
Helen Lawler
Kathleen I. Leavitt
Frances Leonard
°Orme Lewis, Sr.
Dr. Patricia Lynch
°Dennis Lyon
Lyon Family Estate
Elizabeth B. MaGuire
James and Dhira Mahoney
Felicia Meyer Marsh
Maxine and °Jonathan Marshall
Beatrice McDowell
Mrs. Martha McKelvie
Miriam A. McKeown
Maurine Mueller
Gerald H. Myers
Mary K. O'Malley
°Mr. and Mrs. L. Roy Papp
Helen Gunn Powell
Herbert L. Pratt
Margarite Mary Ramond
Mildred E. Reed
°Ginger Renner
Allan Richard Reznikoff
°Stephen Rineberg
Genevieve D. Roach
Lucy Roca
Marguerite Roll
Elaine C. Rose
Joseph and Gloria Rose
Robert R. Rosenbaum
°Betty and Newton Rosenzweig
Evelyn and Ernest Sauer
Jeanette and Bernard Schmidt
Jonas and Jacqueline Schreider
Carolyn Schulte
Frederick J. Schweitzer
Charles A. Simberg
Mary and Lee H. Slater
Sylvia Sleigh
Carolann Smurthwaite
Helen Spacek
George E. and Marjorie G. Springer
Frances Hover Stanley
Mildred N. Starr
Ettie Stettheimer
Joan and Roger Strand
Earl Stroh
°Betty Lou Summers
Ruth Hobday Sussman
Helen C. Tarbox
Joan and Philip Tener
George Thiewes
Astrid L. Thomas
Arlene Tostenrud
°Virginia Ullman
Florence Van Norden
Baroness Carl von Wrangell
Anna Maude Webster
Albertine M. Weed
Ruth Bank Weil
Lee W. Werhan
Fred E. Wood
Eleanor and George Woodyard
Florence and Leon Woolsey
Hamilton W. Wright
21ST CENTURY UNREALIZED:
Anonymous (4)
°Alvan and Sara Adams
Caralee Allsworth
Milena and °Tony Astorga
Dr. Janet Baker
Linda and James K. Ballinger
Dr. and Mrs. John A. Bamberl
Pari and °Peter Banko
Jim and *Alice Bazlen
Uta Monique Behrens
Ben Bethel
°John and Bonnie Bouma
Dorothy Bron
LaVerne Beall Burhans
Joe Bushong and Chad Christian
Iris Cashdan-Fishman
Marc and Mary Ann Cavness
Mr. Sandy Chamberlain and Dr. David Kest
Jae and Diann Christensen
*Joel and Melissa Coen
Elaine W. and Sidney A. Cohen
°George and Mandy Cohen
Pat and Gary Cohen
Lee and *Mike Cohn
Mr. and Mrs. °Jerry Colangelo
*Jenna and John Condas
Harry R. Courtright
*Gloria Perlo Cowen and Philip R. Cowen
°Joan D. Cremin
Dorothy and Herold Crume
°Joseph and Kathy D'Amico
Nikki DeLeon Martin and Scott R. Martin
°Denise and Robert Delgado
Marnie Dietrich
Mary Heiss and °Harold Dorenbecher
Gary J. Egan and Daniel A. Holterman, PhD
*Carter and Susan Emerson
Dr. David and Mary Engel
Katharine and Nicholas J. Feduska, M.D.
°Mark and Diana Feldman
Sharon and Victor Figarelli
Sharyn and Stuart Frankel
*Martin and Cynthia Galbut
William G.M. Gardner
and Gabriella Gardner
Dr. Paul and Amy Gause
Bill and *Judy Goldberg
°Richard and Susan Goldsmith
*Michael and Heather Greenbaum
Pamela Grieco
°Paul and Mary Beth Groves
Angelica and Jacob Gulinson
°Meryl H. Haber
Mr. and Mrs. Charles Hall, III
°Mrs. Diane Cummings Halle
*Nancy Hanley Eriksson
Terrence M. Hanson
*Lila Harnett
Lynette Heller
Mary Beth Herbert
Linda Herold
Cheryl Hintzen-Gaines and Ira Gaines
Suzanne and Val Hummel
Ray and Dee Isham
Henry E. (Hank) and MaryAnn L. Johnson
Stanford S. Johnson
Gigi Jordan
°Jane and Mal Jozoff
Karen Justice
Donald Karner and Kathryn Forbes
Ruth R. Kaspar
*Ellen Katz
Mohammad and Vernita Khosti
*Don R. Kile Trust
Dottie Kobik
Dr. and Mrs. Ravi Koopot
Shawn and °Joseph Lampe
Thomas and Julianne LaPorte
*Sally Lehmann
*David and Dawn Lenhardt
Tochia and Stan Levine
°Sharron Lewis
Linda Ligon
Dr. Dorothy Lincoln-Smith and Dr. Harvey K. Smith
°Judy and Sam Linhart
°James and Dr. Michele Lundy
Janis Lyon
Jeffrey Manley
°Paul and Merle Marcus
Mrs. Robert McCreary
Glenda and Eugene Miller
Roy and Mary Miller
Dr. Herbert and Susan Miller
°John H. Morrell
°Susan and Mark Mulzet
°Steve and Dr. Kristen Nelson
Robert and Mary Newstead
The Nieto Family
LET US THANK YOU.
If you have already included Phoenix Art Museum in your estate plans, please let us know. We would love an opportunity to thank you for your generosity, to make sure the purpose of your gift is fully understood and will be appropriately allocated, and to recognize you as a member of our 21st Century Society so that you can begin to enjoy those benefits immediately. Contact Planned Giving at plannedgiving@phxart.org or call 602.257.2169
°Patricia and Richard Nolan
June Olson
*Donald and Judith Opatrny
Harry and *Rose Papp
°Jim and Anita Patterson
Cecil W. Penn
Mr. and Mrs. Manuel A. Perez
Linda Peshkin
John and Laura Phelps
*Sally Pope
Don and Karen Randolph
Mr. and Mrs. Jonathan W. Reining
°Bruce Covill and Lucia Renshaw
Gail Rineberg
Mr. and °Mrs. Robert P. Robinson
*The Jordan R. Rose Family Trust
°Mrs. Paige D. Rothermel
°Jay S. and Mary Ell Ruffner
Elaine and Timothy Ryan
Dawn and °Jay Schlott
Steve and Anita Schultz
Melanie D. and Richard I. Shear
The Shoemaker Family
Rowena Simberg
°Adam and *Iris Singer
Leonard and °Angela Singer
Albert Skorman
Pamela and °Raymond Slomski
Dr. Jerry N. Smith
and Vickie Hamilton-Smith
Woodrow Jones and Richard Sourant
Becky Curtis Stevens
Patricia Stillman
Roxie and Jim Stouffer
Paula Strickstein
V.T. and Vicky Tarulis
Allyson J. Teply
French Thompson
Diane and °Gary Tooker
Betty W. Van Denburgh
Abram C. Villegas
Irene H. Vasquez, in memory of Mildred B. Williams
Charles and °Meredith von Arentschildt
Joan and James von Germeten
Ms. Susan von Hellens
°William G. and Mary Way
°Louis A. and Daryl G. Weil
Naomi and Gerald Weiner
°Steve and Ann Wheeler
Iris Wigal
Ronald Wilson and Bonnie Naegle-Wilson
Georgia Ray and R. Stephen Wolfe
Robin and Stephen Woodworth
°Mares Jan Wright
Joseph Zodl
°Judy and Sidney Zuber, M.D.
* Current Trustee
° Past Trustee
** Ex-Officio
MAKE THIS AN ARTFUL SUMMER
Discover a playful lineup of creative crafts, accessories, and smile-makers that are sure to add color to your summer days.
Pizza + Toppings Kids' Play Set
$22.49 (Member) | $24.99 (Non-Member)
Create your own wooden pizza with this engaging play set.
Mary Frances Sunny Drive
Top Handle Bag
$382.50 (Member) | $425 (Non-Member)
Cruise through the day with this 1960's inspired handbag.
3.
Paintable Stepping Stones
$28.80 (Member) | $32.00 (Non-Member)
Create your own dino-tastic stepping stones with this painting kit.
1. TOP THAT!
2. ROUTE 66
STOMP THE YARD
4. ART HISTORY ON POINT
Frida Kahlo Press-On Nails
$22.49 (Member) | $24.99 (Non-Member)
Celebrate artistic expression with stunning press-on nails inspired by Frida Kahlo's legacy.
5. TIME AFTER TIME
Retro Alarm Clock
$26.99 (Member) | $29.99 (Non-Member)
Start your day with a charming alarm clock that never goes out of style.
6. GAME OF TONES
Gradient Dominoes
$40.50 (Member) | $45.00 (Non-Member)
Bring artful color to game night with these color wheel dominos.
7. ON CLOUD 9
Paint with Ploof
$17.09 (Member) | $18.99 (Non-Member)
Help Ploof, an eager little cloud, paint their first rainbow with this interactive picture book.
