Ashley Gifford from Art & About PDX sits down with Justin L'Amie to talk about his current exhibition and studio practice...
Read moreClick on image to read interview.
Read moreThe Seattle Art Fair Was So Successful, the City Literally Applauded ...
Read moreI spoke with Anna + Ryan over coffee in a cavernous academic building about their most recent exhibition, A Series of Rectangles, on view at PDX Contemporary Art through November 30, 2013.
Read moreWhere art, design and dialogue meet: a conversation with Tad Savinar
Read morePlease join us at the gallery for light refreshments and a discussion of how we arrive at the price of an art work. It is a continued effort to "open the doors", to make transparent, what goes into acquiring art and building a collection...
Read moreThe biggest show of contemporary indigenous art the world has ever seen — and it’ll be in Ottawa this summer . . .
Read more“Adam McIsaac and I have worked side by side at the forefront of the revitalization of this highly important art for many years. His commitment to the high standards, and aesthetics of our ancestors has earned him a place of respect in our community. I thoroughly hope you love what you see here...Read more
Crow’s Shadow will be hosting artist Storm Tharp for a two-week printmaking residency, Sept. 19-30, 2011.
SEPT. 29 EVENING RECEPTION FOR STORM THARP
Crow’s Shadow will be hosting a public reception for visiting artist Storm Tharp on Thursday, Sept. 29, from 5:30-7:30 p.m., in the Crow’s Shadow gallery.
Visitors will have the opportunity to meet Tharp and check out new works—or works in progress—created during the artist’s two-week printmaking residency.
Tharp also will present a brief slide presentation on his past works in other media. Light refreshments will be available.
Tharp arrived at Crow’s Shadow on Monday to begin some preliminary portrait drawing and experimentation with various lithographic drawing materials.
You can read more about Tharp and his residency here.
We hope to see you here (Crow's Shadow Institute 48004 St. Andrews Road, Pendleton, OR, 97801).
http://www.crowsshadow.org/stories/157 CLICK ON IMAGE FOR MORE INFORMATION
Featuring works by Susie J. Lee and Storm Tharp "Implied Fictions” is the complementary exhibition of portraits from a selection of Northwest artists that will be on display in conjunction with "A Closer Look: Portraits from the Paul G. Allen Family Collection".
Read moreBrad Adkins: Adkins is re-creating a work that Oregon artist and musician Nate Slusarenko created in The Art Gym in 1991.
The Art Gym: Homage
November 3 - December 7, 2008
Re-enactments, copies and tributes by Sherrie Wolf,
Brad Adkins, Christopher Rauschenberg and Michelle Ross
Marylhurst University
17600 Pacific Highway (Hwy 43) / PO Box 261 / Marylhurst, OR 97036-0261
Phone: 503.636.8141 / Toll-free: 800.634.9982 / Fax: 503.636.9526
Artist Victoria Haven has shown her abstract paintings, drawings and multimedia pieces in galleries from Seattle Art Museum to New York City’s Metropolitan Museum of Art. But her current exhibit may be the biggest yet — at least in terms of audience. Clearly visible to anyone commuting to and from downtown via Highway 99 (as well as brave souls taking Mercer Avenue eastbound), “Banner Year” consists of regularly changing signs facing out from two windows in Haven’s fourth-floor studio in South Lake Union...
Read moreI seek in my art to force a deeper explanation of reality and to facilitate a connection with a larger human experience. The artwork included in the exhibition Elsewhere encompasses drawing, collage, books and sculpture, and was created during an 11 week artist residency in Berlin Germany in the...Read more
I ‘sindikit I
presents
The Devil is in the Details
Hosted by Carrie Secrist Gallery on the eve of
Diana Guerrero-Maciá:
The Devil’s Daughter is Getting Married
Join in conversation with
Diana Guerrero-Maciá (Chicago, IL), Paolo Arao (Brooklyn, NY), and Marie Watt (Portland, OR)
Friday, May 29, 2020 @ 1:00 PM - 2:30 PM PST
"The Devil is in the Details" is an idiom that refers to a catch or mysterious element hidden in the details, meaning that something might seem simple at a first look but will take more time and effort to complete than expected... details are important.
Idiomatic images lose their historical/ economic/ material gravity over time -- that which is hidden is archived in the details. Diana, Paolo, and Marie convey ideas around who they are and what their work represents through material choices often coded in abstraction, using a collage aesthetic. There isn’t direct access into each of the panelists’ identities unless you understand the signifiers engaged or each artist’s visual language—it’s mediated in the work. The details in their work are important, and often the details are sewn. Their work sets a foundation for a conversation around visibility and invisibility.
Read moreHeather Watkins will have artist talks at the Cooley Gallery on occasion of her exhibition Dark Moves, as well as at Portland State University in conjunction with Blindspots and Throughlines in the Broadway Gallery at Portland State University.
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Dark Moves Artists Fabiola Menchelli +Heather Watkins in conversation
Saturday, May 6, 11:30 am, Reed chapel
The Cooley opens at 10:30 am before the event
Join Menchelli and Watkins with curator Stephanie Snyder as they discuss their individual and collective practices. Reed chapel, Eliot hall
Refreshments served!
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Heather Watkins: Blindspots and Throughlines Artist Talk
THURSDAY, MAY 11 | 6:00 PM
RSVP : https://www.eventbrite.com/e/heather-watkins-blindspots-and-throughlines...
Since the beginning of Fall 2022, Heather Watkins has participated in a year-long residency at the Jordan Schnitzer Museum of Art at PSU, working with faculty and students in two Freshman Inquiry learning communities. Through workshops, guest lectures, studio visits, and other creative pedagogies, Watkins collaborated with students to create new avenues for understanding and experiencing Watkins’ two public artworks, located on the PSU campus: Score (2014), Lincoln Performance Hall; and Soundings: Opening, Fathoming, Grounding, Searching, Returning (2020), Vanport Building. In this artist talk, Watkins will deliver an overview of this initiative in community-engaged learning that has allowed her to reanimate previous artworks with special attention to artistic process and modes of interpretation. She will also talk about her role in the inaugural curricular exhibition Beautiful Questions, which is currently on view in the Broadway Gallery in Lincoln Hall. Finally, Watkins will discuss the development of a publication (which she received a RACC Arts3C grant to produce) that will encapsulate and archive this exciting and multifaceted project.
Lecture will be held in Lincoln Hall, RM 225. This program is free and open to the public. ASL interpreting will be provided.*
Read moreDavid Row reviews Molly Vidor's
Read moreMarie Watt: Collaboration can be more than a strategy.
Marie Watt’s work is about community involvement. It needs it to survive, and in her small but potent retrospective at the Hallie Ford Museum of Art in Salem right now, each element speaks to a greater company of bodies than Watt’s own.
Read moreThursday, July 28, 2011:
Arnold J. Kemp on Mary Heilmann's Fire and Ice Remix
Arnold J. Kemp, poet
Meet in the Haas Atrium before moving into the galleries.
6:30 p.m.
Inspired by The Steins Collect, this series of readings honors poet Gertrude Stein and her relationships with the visual artists of her day. Each Thursday evening, a leading contemporary poet gives a reading, performance, or talk on a single artist or artwork on view. Readings last 20 minutes.
Part of Pop-Up Poets.
Free with museum admission.
Source: http://www.sfmoma.org/exhib_events/events/1909#ixzz1TRaGdQgO
San Francisco Museum of Modern Art
Clouds Inclose Comets: The Envelope
Even with the purported decline of mailed media, the envelope is ever present in our lives. With it we wrap our communications, readying them in the protective, time-release sleeve of the envelope, for both long and short journeys. Envelopes bear...Read more
D.E. May
Dan May passed two nights ago, just one month before his 67th birthday. He dearly wanted to be 67, 77, and 87. When Dan was diagnosed with pancreatic cancer, he was given just months to live. No one could have guessed that he would make it almost 3 years. He was quite well this past year, until a few weeks ago. His friends in Salem loved him and took such good care of him. His doctor and other medical staff gave him both excellent clinical care and kindness.
The first time I saw Dan May‘s artwork, I instantly loved it. I was amazed at how he managed to make abstractions with such feeling and emotional content. Shortly after that, I met Dan and again felt love and amazement for his his truly original mind and spirit. I was blessed to work with him for many years.
Dan spent many hours in the library looking at books and magazines. He said he didn’t read, but I think he was reading in his own way. He was gathering visual information, just as he did on his long walks and bike rides around “Island Salem,” as he called it. There was really no separation between the man and his art. Being in is live-work space was like being in one of his artworks. It was full of stacks of cardboard document boxes, each carefully marked in black ink; small cellophane bags of found paper scraps, hanging in neat order; a cardboard screen over the window, and very few signs of domestic life. He was blessed with the complete clarity that art was his lifework, his preoccupation, and his destiny.
Dan was humble, charismatic, and much loved by his friends and peers. He was incredibly devoted to both his relationships and his art making.When going into his studio, I would see a piece that I thought was wonderful, and he'd say, 'Oh no, it's not done.' The next time I'd come, the piece would be finished, with just one small precise line added. He would wait until a piece was just right--until it looked like it'd evolved itself over time without the overly conscious intervention of an artistic hand. Dan had little patience for art speak. He wanted his art to speak for itself, and it did. It is a testament to the quality and trueness of his work that those who pursued it were serious collectors, other artist galleries, and people in the arts.
Anna Gray and Ryan Wilson Paulsen recounted how important Dan was in giving them confidence in their own work. It is just the kind of story one hears over and over about Dan. We will all miss him but remember his way of being and of course and most importantly to him remember is artwork.
The photo is of Dan and Curtaor Amanda Hunt arranging his grid of drawings for the Disjecta 2014 Biennial. He didn't like pictures of himself but he did like this one.
Read moreTacoma Art Museum announces artists to create outdoor artwork. . .
Read moreI combine light and space into site-responsive installations that bring heightened attention to peripheral visual information we regularly encounter within architectural boundaries. Responding to the features of a given space rendered visible through light and shadow, my work provokes a re-...Read more
In "New Found Land" I am focused on vulnerability and fragility, creating sculptures out of thin clays and drawings on tissue paper, old Christmas paper and other found ephemera. Some of the tissue paper drawings become wall sculpture as their folds and wrinkling forces the viewer to see them in...Read more
James Miles was born in 1957 in San Francisco, California. He began creating art at Creativity Explored in 1997.
Miles is best known for his ink drawings of miniature scenes. His tight and controlled lines illuminate the essential particulars of the buildings, cars, and figures that...Read more