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THE DAILY ASTORIAN • WEDNESDAY, NOVEMBER 30, 2016
Curator says: Support
local arts organizations
Behind the
scenes at the
Portland Art
Museum
CANNON BEACH —
Understanding the Northwest
arts scene is a lifetime study.
Few are more at the center than
Bonnie Laing-Malcolmson.
In 2010, she became the
Portland Art Museum’s cura-
tor of Northwest art, where
she was responsible for curat-
ing and building the museum’s
collection of regional art from
the late 19th century to the
present. She presented exhi-
bitions and a biennial group
show by artists in Idaho, Mon-
tana, Oregon, Washington
state and Wyoming.
“Everything I did really
prepared me for working with
artists in the Northwest,” she
said.
The Cannon Beach Arts
Association’s “Artists Talk”
series kicked off this month
with a talk from Laing-Malcol-
mson. The recently retired arts
professional answered ques-
tions from audience members
about curating shows, unique
museums and her background.
Laing-Malcolmson grew
up in Seattle among North-
west art, taking art classes
and frequenting the Seattle
Art Museum and galleries.
After learning that she could
study with artists she admired
at the Pacific Northwest Col-
lege of Art, formerly located at
the Portland Art Museum, she
enrolled and began studying
sculpture and painting in 1970.
“It was really interesting
going to school and learning
about the insider art scene in
Portland,” she said. “It was an
interesting time being a woman
going to art school because it
was still pretty sexist.”
After leaving school,
Laing-Malcolmson spent time
on the Oregon Coast. Back
in Portland, she formed a
house-painting business with
other artists. Then she wound
up back at the Pacific North-
west College of Art, this time
as director of academic affairs
and admissions.
“That was my first arts
administration job, and I really
enjoyed it,” she said.
Lyra Fontaine/The Daily Astorian
Bonnie Laing-Malcolmson, former curator of Northwest
art at the Portland Art Museum, discussed her work and
answered questions at the Cannon Beach Arts Associa-
tion’s Creative Coast Project Space.
Later, she obtained her
master’s degree in art from
Montana State University and
spent time getting to know
regional artists. She gained
experience as executive direc-
tor of the Beall Park Art Cen-
ter, executive director of Paris
Gibson Square Museum of
Art, and president of the Ore-
gon College of Art & Craft.
“I knew quite a bit about the
collection because I started as
a student in 1970s and was an
administrator after,” she said.
“I’d seen a lot of the work that
the museum owned until 1987.”
The first thing she did at the
job was go through the stacks
of artwork to take stock of
what the museum had in stor-
age. During her time as cura-
tor, she worked to put the
entire Northwest collection
online.
Laing-Malcolmson
also
promoted regional artists
through curating the Contem-
porary Northwest Art Awards.
To learn about different artists,
she would have arts adminis-
trators, gallery owners, collec-
tors, critics and others in the
Northwest list the top contem-
porary artists in the region. She
chose art, wrote about it and
helped educate people through
docent and education lectures.
“The wonderful thing about
all the museums and galleries
I’ve worked in is that every-
one works there for a reason,”
she said. “From the guards
to those sweeping the floor,
they’re there because they love
art or they are artists. You’re
privileged to work with peo-
ple who are working for a pas-
sion. That’s one of the charms
of working in the art world.”
At the Portland Art
Museum, artists who get a
show tend to be well-estab-
lished, with major shows and
gallery representation under
their belt, she said.
In response to a ques-
tion about how she bal-
ances her right and left brain,
Laing-Malcolmson said that
art, like chess, is about think-
ing spatially and planning.
Asked to name some of
her favorite regional muse-
ums, Laing-Malcolmson rec-
ommended the Missoula
Art Museum, Tacoma Art
Museum, Hallie Ford Museum
of Art in Salem, Yellow-
stone Art Museum and Jor-
dan Schnitzer Museum of Art
in Eugene.
Laing-Malcolmson
also
discussed art auctions, dona-
tions from private collections
and financial difficulties faced
by galleries.
“Support your local arts
organizations,” she said. “It’s
very important.”
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found that federal law pre-
empts local biotech regula-
tions, those ordinances would
have been affected.
“It’s a relief. Certainly, this
is not a worst-case scenario,”
said Paul Achitoff, an attorney
for the Earthjustice law firm
that represented biotech critics
in the case.
Even so, Achitoff said he’s
disappointed the 9th Circuit
ruled that state law preempts
the Maui ordinance, which
he characterized as “a loss for
Hawaii’s people.”
Local ordinances are nec-
essary in Hawaii, where bio-
tech breeding takes place,
because state regulations pre-
date GMOs and are essentially
a “vacuum,” he said. “The
state has not been protecting
people in that respect.”
The Monsanto Co., a bio-
tech developer that sued to
overturn the law, said it’s
proud to be part of the farm-
ing community in Hawaii,
where it has 1,000 employ-
ees, and understands that it
has a “responsibility to farm
sustainably and to work col-
laboratively,” according to an
emailed statement.
“We’re listening and we’ve
heard the concerns some peo-
ple have about GMOs and
today’s farming practices.
Our commitment to ongoing
dialogue with our neighbors
doesn’t stop today,” the state-
ment said.
Alder and Maple Saw Logs & Standing Timber
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Contact: Steve Axtell • 360-430-0885 or John Anderson • 360-269-2500
LISTINGS
W EDNESDAY E VENING
6 PM
Federal law does not pre-
empt state or local govern-
ments from banning genet-
ically engineered crops
that have been deregulated
by the U.S. Department of
Agriculture.
The 9th U.S. Circuit Court
of Appeals has reversed an
earlier ruling that held Maui
County in Hawaii was prohib-
ited from banning commer-
cialized genetically modified
organisms in 2014 because the
ordinance was preempted by
federal rules for biotechnology.
Because the USDA lacks
jurisdiction over biotech crops
once they’re deregulated,
there is no conflict between
local regulations and federal
rules and laws, the 9th Circuit
said last week.
Prohibiting states and local
governments from regulating
crops that were once consid-
ered plant pests would have
a “backwards effect” because
they can still regulate conven-
tional crops that raise fewer
concerns, the 9th Circuit held.
“Such a holding would
have far-reaching practical
effects. Because a large per-
centage of commercial crops
grown in the United States
are GE crops, states and coun-
ties across the nation would be
prevented from regulating an
enormous swath of agriculture.
We do not believe that Con-
gress so intended,” the ruling
said.
Even so, state and local
GMO bans cannot apply to
biotech crops that remain reg-
ulated by USDA, since the
agency retains jurisdiction over
them until they’re commercial-
ized, the 9th Circuit said.
While the 9th Circuit ruled
in favor of biotech critics on
federal preemption, Maui
County’s GMO ban remains
overturned under its recent
ruling. The appellate court
found that the ordinance was
still preempted by Hawaii’s
comprehensive state laws and
rules that deal with the same
subject matter of potentially
harmful plants.
“By banning commer-
cialized GE plants, the ordi-
nance impermissibly intrudes
into this area of exclusive state
regulation and thus is beyond
the county’s authority” under
Hawaii law, the 9th Circuit said.
The 9th Circuit’s opinion
is significant for nine West-
ern states under its jurisdiction
because counties in Oregon,
Washington state and Califor-
nia have GMO bans.
If the appellate court had
W A NTED
THE DAILY
ASTORIAN
L
Federal law
doesn’t preempt
prohibitions
By MATEUSZ
PERKOWSKI
EO Media Group
By LYRA FONTAINE
The Daily Astorian
A
State and local GMO bans declared legal
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