Membership makes a difference! 

The Museum is the perfect place to visit to connect, reflect, and be inspired—and the best way to experience everything we have to offer is as a member! Members receive unlimited FREE admission to the Museum, along with other exciting benefits, including invitations to members-only events, exclusive discounts on our classes and workshops, and access to the Rental/Sales Gallery.

And best of all, members make everything we do possible! Joining, renewing, or gifting a membership directly supports the arts in our community. Memberships go towards staffing costs, the care and maintenance of the art in our collections, community partnerships, programming and more.

Membership Levels

  • Free admission to CAM for one person.
  • Early announcements and invitations to programs and events.
  • Discounts on enrollment to classes and workshops.
  • Reduced facility rental rates of the galleries, lobby, atrium and classrooms.
  • Access to Rental/Sales Gallery
  • Free admission to CAM for two adults and minor children.
  • Early announcements and invitations to programs and events.
  • Discounts on enrollment to classes and workshops.
  • Reduced facility rental rates of the galleries, lobby, atrium and classrooms.
  • Access to Rental/Sales Gallery
  • Access to the NARM network
  • Free admission to CAM for two adults and minor children.
  • Early announcements and invitations to programs and events.
  • Discounts on enrollment to classes and workshops.
  • Reduced facility rental rates of the galleries, lobby, atrium and classrooms.
  • Access to Rental/Sales Gallery
  • Free admission to CAM.
  • Early announcements and invitations to programs and events.
  • Discounts on enrollment to classes and workshops.
  • Reduced facility rental rates of the galleries, lobby, atrium and classrooms.
  • Access to Rental/Sales Gallery with significant discounts.
  • Considerably discounted use of CAM galleries for a private event annually (for Gallery Club Level and above only).
  • Free admission to CAM for four adults.
  • Early announcements and invitations to programs and events.
  • Discounts on enrollment to classes and workshops.
  • Reduced facility rental rates of the galleries, lobby, atrium and classrooms.
  • Access to Rental/Sales Gallery with significant discounts.
  • Considerably discounted use of CAM galleries for a private event annually (for Gallery Club Level and above only).

Special Memberships

Enjoy all the benefits of Individual membership at a reduced rate.

Students: $15

(Grades PK-12, college with valid ID)

BAAA: $30

Join Us now!

Sign up online here

Download our Membership form here.

A portion of membership dues may be tax-deductible.

A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z
Artist Title Medium


Allen, Jere H. Water Series Acrylic
Alps, Glen E. untitled Collagraph
Altman, Harold Path II Etching 112/140
Altman, Harold Park with Seven Figures Etching A/P
Altman, Harold October Lithograph A/P
Antreasian, Garo Z. untitled Lithograph Trial/Proof
Antreasian, Garo Z. untitled Lithograph 14/20
Antreasian, Garo Z. untitled Lithograph A/P


Baron, Jerry Virginia Inn, Seattle Acrylic
Baron, Jerry At the Humboldt Club, North Bend Acrylic
Baron, Jerry Home the Hunter Acrylic
Beling, Helen St. Francis with Bird Bronze
Beling, Helen Ascent Belplast
Beling, Helen Business is Bad Resin
Bennett, Eugene untitled Collage, tin, nails, sand, oil, walnut shells
Bennett, Eugene untitled Collage, tin, nails, tacks, sand, oil
Berthot, Jake untitled Acrylic
Black, Wendell H. Dead Sea Gull Engraving 22/25
Black, Wendell H. Mountainscape Engraving 21/25
Boyden, Frank untitled Stoneware
Boyden, Frank Meteor Bronze & silver
Bronson, Bonnie Blue Enamel Enameled steel
Brown, James Endo 2 Oil
Brown, James Stampede Oil
Brown, James The Weird Train Oil
Buckner, Hal Bronze Woman Bronze
Buckner, Hal untitled Oil
Burford, James Solo Oil/Collage


Casarella, Edmond Swamp Bank Paper cut, relief print 15/24
Casarella, Edmond Climax Woodcut A/P
Casarella, Edmond Haven Woodcut A/P
Casey, John T. Orbis Vacuum-formed uvex
Cassara, Frank Terreno II Etching 6/35
Chambers, Susan Looking for a Break Photography (digital)
Chandler, Elaine Time Machine Serigraph/Embossing 4/15
Charette, Phillip John Moonlight Spirit Mixed media (ceramic, glass, wood, feathers)
Clarke, Mark Rocks No. 8 Collage
Coe, Margaret Rocks & Leaves No. 2 Oil
Colburn, Jon B. The Playground Gouache
Colescott, Warrington George Washington Meets Betsy Ross, but Too Late Etching 10/75
Colescott, Warrington Secretary Seward Buys Alaska Etching 12/75
Colescott, Warrington William Randolph Hearst Declares War on Spain Etching 5/75
Comerford, Susan River Collage Etching 2/6
Cookson, Jayne A La Plage II Linoleum block print/reduction 10/14
Corum, Quinn Earth Forms: Night Hush Fiber
Cox, Pauline Chinese Waves Watercolor
Cruson, Jon Pacific Tapestry (Hy – as Salt Chuck portfolio) Lithograph 15/25
Cruson, Jon Nye Beach (Hy – as Salt Chuck portfolio) Lithograph 15/25
Cruson, Jon Arch Rock (Hy – as Salt Chuck portfolio) Lithograph 15/25


Davison, Phil C. Spring Watercolor
Deshaies, Arthur USA, The American Country Engraving/Drypoint 10/50 imp
Detton, Shelley La Esperanza Monoprint
Donaldson, Julia Sir Winston Churchill Narcisses Fiber


Edmondson, Leonard Flower Power Etching 32/75
Edmunds, Charles The Boatyard Watercolor
Edmunds, Charles Merchants Beach Watercolor


Falke, Terry untitled Photography
Falke, Terry Standing Rock, Navajo Reservation, Northern Arizona, 1999 Photography
Falkenstein, Claire untitled Cast paper
Falkenstein, Claire Moving Point #1 Ink dawing
Falkenstein, Claire Organic Form – Bones Colored pencil drawing
Farmer, Tom untitled Mixed media
Farmer, Tom untitled Monotype
Farmer, Tom Afternoon Monotype
Fricano, Tom S. Osterreich Etching/Embossing A/P 3/4
Fricano, Tom S. O2 Bird Etching/Embossing A/P
Fricano, Tom S. Geographic Specimens Etching/Embossing 2/10


Gardner, Byron Red Mesa, Blue Field Oil
Gardner, Byron Black Land Wave Pastel
Gardner, Byron untitled Watercolor
Geisert, Mitch Mary Wilson Triptych (right panel) Acrylic
Geisert, Mitch Mary Wilson Triptych (center panel) Acrylic
Geisert, Mitch Mary Wilson Triptych (left panel) Acrylic
Geisert, Mitch The Old Jester (Le Vieux Plaisant) Acrylic
Gilkey, Gordon W. Fractured Earth Collagraph A/P imp
Goldsby, Al Landscape Etching 3/4
Gould, Norman Familular Morgenstense Etching A/P
Gould, Norman Human Myriad Oil
Grooms, Red Mango, Mango Serigraph 198/250
Guyot, Tom Bork Graphite drawing


Hackman, Vida Landscape Interval I Etching A/P
Hall, Carl Shaman’s Bones Watercolor/Gouache
Hall, Carl Raven Watercolor/Gouache
Hall, Howard Boiler Bay Oil
Hall, Howard Rogue River Canyon Oil
Hansen, Art The Tavern, A Private Club, The Stripper 3 Etchings in one frame
Hardy, Tom Sea Piece Welded bronze
Hardy, Tom Foothills Etching A/P
Hardy, Tom Torso Watercolor
Hardy, Tom Coos Bay Dredging Equipment Watercolor
Hardy, Tom Horses Welded Bronze
Haseltine, Maury Undertow #2 Oil
Hawthorn, Chris untitled Glass
Hayter, Stanley William Survol Lithograph 128/150
Hedges, Mary untitled Raku
Henderson, Jack Rising Oil
Hnizdovsky, Jacques Beech Tree Woodcut 60/100
Holbert, Merrie Mama’s Comfrey Bed Watercolor
Holm, Mike Canary Photography (digital)
Holm, Mike Soft Drive Photography (digital)
Holm, Mike Sexy Rock Photography (digital)


Izquierdo, Manuel Anvil Flowers Conté crayon
Izquierdo, Manuel Windmill Flower Sumi ink
Izquierdo, Manuel Flower with Torso Mixed media
Izquierdo, Manuel Woman #40 Mixed media
Izquierdo, Manuel Temple Terra cotta
Izquierdo, Manuel Caryatid Terra cotta
Izquierdo, Manuel Flower Figure Welded steel
Izquierdo, Manuel Four of Spades Welded steel


Jenkins, Ed Whaling Bark, Alice Knowles Drypoint
Jenkins, Ed Unbending Mains’l Drypoint
Jenkins, Ed Port O’ Call Drypoint
Johanson, George Juxtapositions – Landscapes Etching/Embossing 1/30
Johanson, George Juxtapositions – Four Figures Etching/Embossing 1/30
Johanson, George Juxtapositions – Wall Etching/Embossing 1/30
Johanson, George Juxtapositions – Torsos and Orchid Etching/Embossing 1/30
Johanson, George Juxtapositions – Green Pepper Etching/Embossing 1/30
Johanson, George Juxtapositions – Black Bat Etching/Embossing 1/30
Johanson, George Juxtapositions – Targets Etching/Embossing 1/30
Johanson, George Juxtapositions – Egg Etching/Embossing 1/30
Johanson, George Juxtapositions – Sky Grid Etching/Embossing 1/30
Johanson, George Juxtapositions – Apple & Curtain Etching/Embossing 1/30
Johnston, Ann Clouds Fiber
Jones, John Paul Girl for Goya Lithograph 4/20
Jones, John Paul Annunciation Etching A/P


Kadar, Kevin Figure #595 Oil
Kadar, Kevin untitled Oil
Kaplan, Jerome Station Lithograph 31/35
Kaplan, Jerome Reve Rite Lithograph 42/45
Kaplan, Jerome Mr. Becker Etching Ed. 40
Karl, Maggie Coos Head Burner Oil
Karl, Maggie Reflections Collage
Karl, Maggie View of North Bend Oil
Karl, Maggie Autumn Colors/Eighth Hole Oil
Kelly, Lee Broken River Cor-Ten Steel
Kelly, Lee Broken River (Study for the sculpture) Watercolor
Kelly, Lee Toward River in Two Parts (Study for the sculpture) Watercolor
Kensler, Barbara S. Prismatic Window Fiber
King, Tony Groups Acrylic
Knudsen, Thomas The Spaniard Wood & leather
Kobrin, Lowell Waiter-Café Du Monde Photography (digital)
Kohn, Misch The General Etching/Collage 50 imp 2nd State
Kohn, Misch Long Beaked Bird Lithograph A/P
Kohn, Misch Trio Wood engraving 30 imp
Koltz, Adam Schooner Juventa, 1865 + chart Watercolor
Konopka, Joseph Train Station Acrylic
Konopka, Joseph Route 523 Acrylic


La Duke, Betty Oregon Coast Acrylic
La Duke, Betty Pursuit Woodcut 2/6
La Duke, Betty Chinese Winter Landscape (1) Acrylic
La Duke, Betty Chinese Winter Landscape (2) Acrylic
La Duke, Betty Chinese Winter Landscape (3) Acrylic
La Duke, Betty Chinese Winter Landscape (4) Acrylic
La Duke, Betty Chinese Winter Landscape (5) Acrylic
La Duke, Betty Peking Bicycle Riders Acrylic
La Duke, Betty Memories of the Bitter Past Acrylic
La Duke, Betty Spirits Old and New Acrylic
La Duke, Betty Political Discussion Mixed media
La Duke, Betty The Foolish Old Man Who Removed the Mountains Etching 4/25
Laird, Jan Greatness Takes So Long: Larry Oil
Laird, Jan Space Child: Billy Oil
Laird, Jan Shannon Oil
Laird, Jan Decadence is Marriage: Bob Oil
Laird, Jan untitled Pastel
Landau, Jacob Behold, I Will Send You Elijah Lithograph A/P XIV
Landau, Jacob I John Brown Lithograph 2nd state 46/50
Landeck, Armin Fish Engraving
Landeck, Armin Black House, Bleeker St. Engraving
Landeck, Armin Rooftop & Skylights Engraving
Lasker, Joe Cezanne Observed Oil
Law, Margaret Mountain Stream Watercolor
Liepe, Madeleine R. Edge of the Park Oil
Loehr, Joellyn East of Here Oil
Lott, Jimi untitled Photography (digital)
Lybecker, Kirk A Rose of High Romance Watercolor
Lybecker, Kirk A Return to the Real World Watercolor
Lybecker, Kirk T-Bird Watercolor
Lybecker, Kirk Chain Link Madness Watercolor
Lybecker, Kirk Even Damnation Poisoned by Rainbow Watercolor
Lybecker, Kirk Shoes of Osimandius (sic) Watercolor


Martin, Gan Afternoon at the Beach Oil-base enamel
Massey, Charles Jr. Yesterday’s Holder, Holding Lithograph A/P
Massey, Charles Jr. Skyhook Start, Progression Lithograph 28/50
Matoush, Lyle Frostbite Etching/Embossing/Chine collé 17/18
Matoush, Lyle Quicksilver Lithograph/Embossing/Chine collé 20/26
Mattingly, James Old Man Print Woodcut A/P
McCosh, David Goat Oil
McCosh, David Maguey Watercolor
McCosh, David untitled Watercolor
McVicker, J. Jay Orange Accent Etching 11/15
McVicker, J. Jay Blue Ambiance Etching 18/30
McVicker, J. Jay Dark Structure Etching 38/40
Meeker, Dean Phaeton and the Horses of the Sun Etching 17/60
Meeker, Dean Lisa Etching 57/60
Meeker, Dean Joseph Etching 18/60
Morrison, Ivan E. untitled Oil
Morrison, Ivan E. untitled Oil
Morrow, Ceci Daghestan Prayer Rug Acrylic
Mostert, Christiaan (Dutch) Frayed and Forgotten Watercolor
Munro, Alan A. Heat Watercolor
Myers, Malcom H. Knight, Death and the Devil Etching 10/25


Osgood, Kim A Passing Moment Monotype/Chine collé
Ottum, Phil Long Tom River Photography


Padgett, Walt Red Fuji Woodblock print
Pander, Henk Great Market of Haarlem Oil
Pander, Henk The Sinking of the New Carissa Oil
Parker, Lucinda Abex Valley Green Acrylic
Paul, Ken Mountain Imposition Acrylic
Paulin, Richard C. Sag Harbor Supper Woodcut 1/10
Peterdi, Gabor Gulls in the Wind Drypoint 11/25 imp
Peterdi, Gabor Lanikai Reef V Etching 3/50 imp
Peterdi, Gabor Red Red Eclipse Etching A/P 1
Peterdi, Gabor Thicket Etching A/P III
Peterdi, Gabor Winter II Etching imp
Peterdi, Gabor Red Reef Etching 2/30 imp
Plotkin, Linda Green Morning Lithograph 68/175
Plotkin, Linda One Morning Lithograph 45/100
Pozzi, Craig Coos Bay, Oregon Photography
Purdy, Douglas Duo Bronze 1/Ed.25
Purdy, Douglas Goat Bronze 8/Ed.10


Richmond, Rebekah The Long Sleep Etching 13/120
Riese, Beatrice Six from Bolivia Oil
Rios, Diego Hired to Fire as Soon as Possible! Woodcut A/P
Rivers, Larry Living at the Movies Lithograph/Serigraph 75/175
Robertson, Ward Lower Bay Photography 1/80
Robertson, Ward untitled Photography
Rock, John Charities Lithograph 7/10
Rock, John Yaquina Lighthouse (Hy – as Salt Chuck portfolio) Lithograph 15/25
Rock, John Tidal Pools (Hy – as Salt Chuck portfolio) Lithograph 15/25
Rock, John Beach Cabin (Hy – as Salt Chuck portfolio) Lithograph 15/25
Romano, Clare On the Grass Collagraph A/P
Romano, Clare New Jersey Landscape II Etching A/P
Rosa, Lilly The Maestro Leonardo Etching 4/5
Ross, John Wharf Collagraph 16/50
Ross, John Till the Morning Comes Collagraph 24/75
Rouzie, A. William Orion Watercolor
Rouzie, A. William Yaquina at Charleston Watercolor
Rudisill, Susan Susan Creek Falls Mixed media
Rudisill, Susan Narrows View Charcoal drawing
Rudisill, Susan Road Cut: Rape of the Innocent 4 Charcoal drawings in one frame
Ryan, Charles untitled Oil


Saltzman, Florence Sunset Red, Countryside Acrylic
Saltzman, Florence Bleached Beach Bones Oil
Sandgren, Erik Yakquina: Wind-Blown Light Watercolor
Sandgren, Erik Tahoma: Mountain Mythos Acrylic
Sandgren, Erik Maelstrom Linocut A/imp
Sandgren, Erik Raven Primordial Woodcut A/P
Sandgren, Erik Misty Fjord: Southeast Alaska by Boat Acrylic
Sandgren, Nelson Beach Genre Lithograph 20/60
Sandgren, Nelson Wafted Fog Lithograph 9/10
Sandgren, Nelson Fireweed Oil
Sandgren, Nelson Dark Summer Sea Watercolor
Sandgren, Nelson Rocks at Bandon Watercolor
Sandgren, Nelson untitled Gouache
Saylor, Grant The “Rocky” at La Push, WA Watercolor
Schenck, William Wyoming Plus VI (Gregory Peck on a Horse) Acrylic
Schneuer, David untitled Drypoint 29/150
Schneuer, David untitled Etching/Drypoint 10/150
Schneuer, David untitled Etching 20/150
Schneuer, David Waltz Serigraph 288/300
Schneuer, David Afternoon Meeting Serigraph A/P 17/30
Seder, Sylvia King, Queen & Blue Eyed Dog Mixed media
Sennick, Lou Halibut Fisherman Photography (digital)
Sheehan, Evelyn Widow and the Empty Chair Acrylic
Sheehan, Evelyn A Leisurely Model Collage/Mixed media
Shuck, Vicki Bicicletas Linoleum block print 4/20
Shuck, Vicki Drinkie-Drinkie Linoleum block print 4/20
Smith, Moishe Po Valley Etching 26/50
Smith, Moishe Almonds of Andalusia Etching 38/50
Smith, Moishe Roman Holiday Etching 8/60
Snyder, Amanda Two Clowns Collage
Snyder, Amanda Blue Bird Collage
Snyder, Amanda Shakespearean Forest Oil/Collage
Snyder, Amanda Sunflower Hula Girl Oil
Snyder, Amanda Poppy – Friend from Bangkok Oil
Snyder, Amanda Baby Robin Woodcut 4/30
Snyder, Pat Ace & Queen of Spades Engraving 15/100
Snyder, Pat American Indian Series I Serigraph 1/10
Snyder, Pat American Indian Series II Serigraph 10/15
Snyder, Pat American Indian Series III Serigraph 14/25
Snyder, Ruth Mendocino (Malibu Series #6) Watercolor
Sperakis, Nicholas The Viceroy Woodcut 5/40
Sprague, Don untitled Porcelain
Stark, Larry Ditch Lake Serigraph 15/99
Stark, Larry West Branch Log Serigraph 18/99
Stasik, Andrew Still Life/Landscape #5 Lithograph 41/130
Stasik, Andrew Summer XXXVI Lithograph/Serigraph 9/31
Stasik, Andrew Summer Landscape II Lithograph A/P V
Steele, Jeanne Crimson Twilight Oil
Steensma, Jay untitled Drawing
Steensma, Jay Portrait of M. Hickey Ink drawing
Stone, Gwen Tale of Genji VII Collage/Embossing
Stone, Gwen Toys on Burnt Umber Serigraph, hand tipped 18/50
Stone, Peter G. Night Rip Stoneware
Stone, Peter G. Incision Terra cotta
Sugiyama, Wataru Peace and Strength Terra cotta
Summers, Carol Navarro Ridge Woodcut, multi-colored rubbing 75/75


Talbot, Jonathan Coos Bay Patrin Collage
Talbot, Jonathan Cape Arago Soundings Collage
Tift, Mary L. Alphabet Plate Etching 36/50
Tift, Mary L. Gum Ball Machine Etching 39/50
Turner, Janet Roots and Ducks Serigraph/Linoleum block 52/185 imp
Turner, Janet Sycamore Snag II Serigraph/Linoleum block 27/90 imp
Turner, Janet Wintering Snow Geese Serigraph/Linoleum block 68/175 imp



Van Allen, Katrina Harbor Dreaming Oil
Van Allen, Katrina Winter Jetty (left panel) Oil
Van Allen, Katrina Winter Jetty (right panel) Oil
Van Dreal, John Moon-lit Nude Seated in Tranquil Impersonation Oil
Vaughn, Dorothy Seal Rock Watercolor
Volkerding, Laura untitled Photography
Volkerding, Laura Log Dump and Sawmill, Isthmus Slough, Coos


Walker, Kenneth E. Breakfast, Introspection Photography
Ward, Lynd Evening Walk Wood engraving
Ward, Lynd Flower Girl Wood engraving
Ward, Lynd Cup of Sky Wood engraving
Webb, Joseph Stone Mama Limestone
Wehrle, Clare W. Study of a Young Man Oil
Wehrle, Clare W. Tracy Oil
Williames, Shedrich untitled Photography
Williames, Shedrich Shedrich & Daughter CoCó Photography


Zach, Jan Folded Form #1 Stainless steel
Ziemann, Richard Claude Black-eyed Susans Etching 35/100
Ziemann, Richard Claude Rocky Landscape Etching 27/100
Ziemann, Richard Claude Morning Light Etching 35/100
Zuniga, Francisco Yucateca Con Fruta Lithograph 201/300

Prefontaine Gallery

Hanging up in the lobby of CAM, you will find an original painting of Steve Prefontaine by nationally known, Seattle based artist Chris Hopkins. Located upstairs is the Prefontaine Memorial Gallery, where you will find numerous photographs and tributes to this hometown hero. Showcased in a hand-made trophy case are most of the medals, ribbons and trophies that Steve Prefontaine received during his brilliant, but short career.

On the walls are copies of photographs from the private collection of Tom Jordan, the former publisher of “Track and Field News” magazine. Each of the photos depict Pre running or crossing the finish line in many of his races, including one from the Olympic Games held in Munich, 1972.

We encourage our visitors to both sign and read through the guest registry. See what those, whom to this day, still admire and honor the memory of Steve Prefontaine, have written. Take the time to reflect on the life and career of a young man who influenced so many.

On the second floor of the Coos Art Museum is a room dedicated to the short life and running career of Coos Bay native Steve Prefontaine.

At the time of his death in May 1975, Pre held eight long-distance running records. Runners from all over the world know about Pre’s accomplishments and many know Coos Bay was his hometown.

Up the stairs from the main lobby, the first room a visitor comes to is a conference room immersed in the runner’s life. On the walls are copies of photographs from the private collection of Tom Jordan, the former publisher of “Track and Field News” magazine.

Each of the photos depict Pre running or crossing the finish line in many of his races, including one from the Olympic Games held in Munich, 1972.

Two cases built by Ray Prefontaine are filled with memorabilia of his son’s accomplishments, beginning with Pre’s days running for Marshfield High School. There are plaques, cups, trophies and medals on display from his family’s collection.

The collection is available for public viewing during regular museum hours. You can also learn more about Steve Prefontaine here:

Expressions West 2024

Event Dates: 19 April – 23 June 2024 
Entry Deadline: 31 January 2024
Opening Night Reception & Awards Ceremony – Friday, 26 April 2024, 5-7 p.m. 
Coos Art Museum, 235 Anderson Ave, Coos Bay, OR 97420


Artists residing in Alaska, Arizona, California, Colorado, Hawaii, Idaho, Montana, Nevada, New Mexico, Oregon, Utah, Washington and Wyoming are invited to provide up to three submissions.

ELIGIBLE ART MEDIUMS: Allowed with the following criteria
Paintings – limitation of 48 inches in any direction – this includes the frame.
Drawings – limitation of 48 inches in any direction – this includes the frame.
Hand pulled prints – limitation of 48 inches in any direction – this includes the frame.
Mixed media – limitation of 48 inches in any direction – this includes the frame.
Fiber & textiles – limitation of 48 inches in any direction – this includes the frame or mounting device.
Fiber & textiles – wearable – must supply display device.
Small sculptures – weight limitation of 50 lbs. and 48″ inches in any direction.
Glass – blown, fused or leaded stained – if to be suspended, must include a secure hanging or display device.
Turned and carved wood – weight limitation of 50 lbs. and 48″ inches in any direction.
Jewelry – only if ALL elements were created by the artist.
Any and all themes of expression define the parameters of acceptable entries.

General Rules

Each artist can provide a total of up to three (3) submissions. There is a non-refundable fee of $20 for the first submission, $10 for the second submission and $10 for the third submission. Artworks submitted must have been created within the last 2 years (2022 – 2024) with a framed size limitation of 48 inches in any direction and a weight limitation of 50 pounds.

If you are submitting a work that is part of a series, the submitted piece MUST be unique and distinguishable from any of your other works of art. Works that have previously been exhibited at Coos Art Museum are NOT eligible.

Artworks that are accepted must be the same as the images on the files entered – no substitutions or modifications.

NOTE: If your work is a replica of another person’s work – Title MUST contain notation of the original work and original artist. Example: “A Study of the Mona Lisa, by Leonardo DaVinci”

INELIGIBLE ART MEDIUMS: Photography, video, motion picture film, audio, giclée prints of original fine art, and furniture.

Deadline for submissions is 31 January 2024
Notice of acceptance will be sent by 15 February 2024

Cash Awards

First Place Award will receive cash prize of $1000. Second Place Award will receive cash prize of $750. Third Place Award will receive cash prize of $250.

Non Cash Awards

Four Honorable Mention ribbons will also be awarded.


Works in the exhibition may be available for sale. After deducting any transaction fees, the proceeds from art sales will be split 70/30, with the artist receiving 70% and the Museum receiving 30%. Artists should price their works with this in mind. All sales made at the Museum during the exhibition are final. Payment will be made within three weeks from end of show. Entry confirms all terms of this agreement.

Delivery and Pickup of Art Works

Artists whose work is accepted must have artworks delivered to the Museum via carrier service at their own expense for arrival between March 26 through 29, 2024. Hand delivered work will be received at the Museum on Friday, 29 March 11am – 4pm, and Saturday, 30 March through Sunday 31 March 2024 between 1 and 4 pm. Artists must make pre-paid arrangements to have their work returned to them, or may pick up their work in person at the Museum on Tuesday, June 25, 2024 through Friday, June 28, 11 – 4pm or Saturday and Sunday, 29 – 30 June 1 – 4pm.

General Specifications

Works must be ready for hanging and have a framed size of no more than 48 inches in any direction. All work must be neatly labeled on the back with the artist’s name, address, and phone number. Labels must also show the work’s Title, Medium, Date of Creation, and (retail) value of the piece as set by the artist. Art is insured while in the Museum from
21 March through 30 June, 2024.

Juror: Kelsey Garrett

Kelsey Garrett is a Los Angeles-based artist with a background in oil and acrylic painting, as well as digital media. She applied her fine art training to working as a scenic painter at regional theaters such as the Oregon Shakespeare Festival, Cleveland Play House, and Pittsburgh Opera. Since graduating with her MFA from Carnegie Mellon University, Kelsey has worked as a set designer and art director in film and television. Her recent credits include NBC’s Quantum Leap,CW’s The Winchesters, and Universal’s upcoming feature Twisters.

Juror: Natalie Hargreaves

Natalie (Laswell) Hargreaves (b. 1985 in Silverton, Oregon) works in multiple media, with a focus on oil painting, ceramics, collage, and textile sculpture. Their work is inspired by memories, found objects, as well as real and imagined environments. They received an MFA from Pacific Northwest College of Art in 2020, where they were mentored by Jessica Jackson-Hutchins, Cynthia Lahti, and D.E. May. They currently live in Coos Bay, Oregon, where they work as Curator of Collections, and Art Education at Coos Art Museum

Juror: Pat Snyder

Pat Snyder (b.1940 in Traverse City, Michigan) works with painting, drawing, collage, and printmaking, ranging from realism to abstraction. Snyder explores the essence of the Oregon South Coast by interpreting nature’s surfaces, light, and layering within his work. He obtained an MA with emphasis on printmaking from Northern Illinois University in 1967. Snyder is a former art teacher of 30 years at Marshfield High School, and Southwestern Community College. He lives and works in Coos Bay, where he teaches art classes at Coos Art Museum.

Coos Art Museum (CAM)

Coos Art Museum, located in the coastal town of Coos Bay, Oregon, is a dynamic cultural institution dedicated to celebrating the arts and nurturing creativity within our community. As the sole art museum along the Oregon Coast and the state’s third-oldest art museum, we take pride in being a welcoming community gathering place that lowers conceptual and physical barriers to the arts and enhances the museum’s relevance for local residents. Our museum hosts a rotating selection of up to 20 exhibitions each year, sourced from local and regional artists and institutions. We offer a wide range of educational programs, including classes, workshops, and outreach initiatives, along with frequent public events, designed to engage artists of all ages. With a mission to enrich lives through art, Coos Art Museum serves as a cultural resource on the Oregon Coast, igniting inspiration and fostering connections through the transformative power of visual arts. For additional information, please visit

Important Dates:

January 31, 2024 – Deadline for submissions sent to Smarter Entry.
February 15, 2024 – Notification of acceptance/rejection.
March 31, 2024 – Deadline for receiving accepted artwork.
April 26, 2024 – Opening reception 5 – 7 pm
June 25 – 28, 2024 – Hand retrieval of artwork from 11 – 3:30pm
June 25 – 28, 2024 – Artwork returned via couriers.

Use of Digital Tools Coos Art Museum Digital Art-Making Policy for Juried Exhibitions


Coos Art Museum (CAM) recognizes the evolving nature of artmaking and the integration of digital tools into the creative process. As part of our commitment to embracing innovation while maintaining the integrity of our juried exhibitions, CAM has developed this policy to address the use of digital tools in artmaking.

Policy Statement:

1. Eligibility: Artists are encouraged to submit artworks that incorporate digital tools as part of their creative process. Artists must adhere to the guidelines outlined in this policy to ensure their eligibility for CAM juried exhibitions.

2. Definition of Digital Tools: Digital tools include, but are not limited to, software applications, digital tablets, computer-generated graphics, digital photography, 3D printing, and any other technology-based tools used in the creation of artwork.

3. Acceptable Use of Digital Tools: Artworks created with digital tools are welcome in CAM juried exhibitions, provided that the artist demonstrates creative intent, originality, and artistic craftsmanship. Artists should clearly describe their use of digital tools in their submission materials to help the jury understand the artistic process. Artworks must primarily consist of the artist’s original content, and the use of digital tools should enhance rather than replace the artist’s creative input. Artificial Intelligence software or A.I. tools imbedded in Photoshop or other digital media are not allowed to be used for artwork competing for prizes in juried exhibitions. Any pieces using such tools are required to include A.I. visual art software or tools in process descriptions. They may be eligible to be juried into an exhibition, but they cannot be considered for prizes.

4. Prohibited Artwork Types: Reproductions and giclées of original artworks are not eligible for CAM juried exhibitions. Artworks that solely consist of digitally altered or manipulated stock images or commercial graphics without significant (approximately 70%) original creative input will not be accepted

5. Submission Guidelines: Artists must accurately represent their artwork and its creation process in their submission materials. Artists should provide a detailed description of how digital tools were used in the creation of their artwork. Artists must confirm that their submitted artwork is an original creation or part of a limited edition, and they retain the rights to reproduce it for exhibition purposes.

6. Jury Selection: All submitted artworks will be evaluated by CAM’s jury based on artistic merit, creativity, and adherence to the guidelines outlined in this policy. The jury may consider the integration of digital tools as part of the artistic process when making selection decisions.

7. Notification and Display: Artists whose work is selected for CAM juried exhibitions will be notified according to the museum’s standard procedures. Accepted artworks using digital tools will be displayed in the exhibition alongside traditional art forms. Artwork media for exhibition labels must include the digital tools used in the creation process. Example terms include, but are not limited to, inkjet and oil, monoprint and acrylic, digital print with hand embellishment.

8. Compliance and Enforcement: CAM reserves the right to disqualify any artwork that does not comply with the guidelines outlined in this policy. In the event of a dispute or uncertainty regarding the eligibility of a digital artwork or an artwork using digital tools in its creation, CAM’s exhibition committee will make the final decision

9. Policy Revision: CAM may periodically review and update this policy to reflect changes in artistic practices and technological advancements. Conclusion: Coos Art Museum recognizes the value of incorporating digital tools into the artmaking process and encourages artists to explore these creative avenues. This policy aims to provide clarity and fairness in evaluating artworks that use digital tools while upholding the integrity of CAM’s juried exhibitions. Artists are encouraged to reach out to CAM for any clarifications or inquiries regarding this policy.

Comprising over 550 works, CAM’s Permanent Collection is focused on contemporary fine art prints and original works in all media by Pacific Northwest artists. The Collection continues to grow through donation.

The fine art print collection contains many works by major American artists including Alexander Calder, Warrington Colescott, Red Grooms, Robert Rauschenberg, James Rosenquist, and Larry Rivers. The Collection was augmented in 1972-73 when 94 prints were purchased with support from the National Endowment for the Arts. Currently the Collection contains over 235 prints.

Since 1995, the Adopt an Artwork program has improved the condition of over 115 works. Anyone may choose to “adopt an artwork” by underwriting the cost of reframing or restoring a work from the Collection. Donors are acknowledged whenever the adopted works are exhibited.

Many of the works in the Collection can be viewed online. Click Here to Enter the Permanent Collection Online Gallery.

Access to works not online is possible by appointment by calling (541) 267-3901.


We envision a world where art is accessible to all and fosters
creativity, cultural appreciation, and personal growth.


Coos Art Museum serves as a cultural resource for Oregon’s South
Coast through exhibitions and educational programs that inspire
appreciation and exploration of visual art.


Bringing our vision to life and fulfilling our mission begins with a
commitment to certain core values that guide our work. The Coos
Art Museum is devoted to the following core values:

We believe the arts foster a vibrant tapestry of creativity,
imagination, and expression that enriches our lives, sparks
innovation, and fosters deep connections across cultures and

We offer arts education as a fundamental cornerstone of holistic
development, fostering creativity, critical thinking, and empathy,
while empowering individuals to explore their unique identities.

We strive to make the arts intellectually, physically, and
economically accessible to everyone.

We endeavor to create a culture of diversity, access, and inclusivity
that is represented in the museum’s collection, exhibitions, and
educational programs, and among members of the Board, staff, and

We are responsible stewards of the resources that have been
entrusted to our care.

CAM History

The Coos Art Museum traces its roots to the Coos Artist League, active since 1950. Early operations were conducted in storefront locations, followed by occupancy of the old Carnegie Library Building near downtown Coos Bay. During this “library period” the Museum began building its permanent collection, and established a reputation for high quality exhibits and educational programs. Throughout this period volunteers were responsible for nearly all Museum operations and functions.

In the late 1970’s the Coos Art Museum members pushed for and won approval of a community-wide bond issue to acquire and remodel the old post office building, a historical art deco structure built in 1936. After 5 years of hard work – including a door-to-door campaign to inform the community and raise monies – and much repairs and retrofitting, the Coos Art Museum moved into it’s current location in 1984.

The Museum houses the Maggie Karl Gallery, the Perkins Gallery, and the Rental/Sales Gallery on the main floor. On the 2nd floor, via either the Art Deco staircase or the ADA compliant elevator, you’ll find the Mable Hansen Gallery and the spacious Uno Richter Atrium; complete with exposed brick walls and high, arched ceiling.

Also on the 2nd floor, the Permanent Collection storage and work area helps to keep CAM’s more than 630 works of art in pristine condition. Museum management offices and the Art Education Classroom are also located on the 2nd floor. Oregon Coast Music Association, which produces the annual Oregon Coast Music Festival and other popular events also maintains its offices in the building, and the Bay Area Artists Association holds their monthly meetings in the Janet Beetham Classroom.