The similarities between Michael Heizer's Rift and Daniel Libeskind's Jewish Museum in Berlin are striking... though it is a somewhat fractal form and the commonalties shouldn't surprise us, fractals repeat even when we think its human creativity at work.

Peter Schjeldahl looks at both Franz West and Mary Heilmann. I'm continually impressed with West but Heilmann (whose show I saw at OCMA) is frankly pretty uneven and not that surprising. Throw in Chris Johanson, Rachel Harrison and Carol Bove and there is a real case for a Paul Klee fanclub revival going on as of late.

The Oregonian gives more details on the downsizing at the Museum of Contemporary Craft (a PORT sponsor). All of this just seems like prudent preparation much like the direction the Portland Art Museum undertook last year (another PORT sponsor). One big problem though is the lack of an endowment, it's tough to be a true museum without an endowment. Only once they have an adequate endowment can the MOCC transition fully from a sales gallery with an exhibition program into a full museum. It is also worth reminding everyone that the MOCC's supporters still have significant means and the museum shouldn't water down great programming like the Natzler show or the more contemporary lexicon in Manufractured. Still, MoCC needs both types of shows (classic and experimental) to remain valid... Our Garth Clark interview makes that necessity as plain as can be.... and it is also why curator Namita Wiggers is the most necessary person at the institution. She brings their programming to the museum level, now they need an endowment that matches the curatorial seriousness. Wiggers is simply one of the best curators in her field and key. Ill have something on Portland's creative economy soon, there are sobering facts that everyone already seems prepared for as well as some serious opportunities. In general, Portland typically gains a lot of entrepreneurial talent during recessions.

The Portland Art Museum finally has a new website. It might not win awards but it is a step up from the vintage 1998 look.

I thought PAM wasn't going to use that atrocious new logo. I hear the best way to present yourself as a world class art institution is to use a logo from a design student's sketchbook. :)

I find it interesting that all the staff who were "right-sized" at the Museum of Contemporary Craft directly supported the work of Curatorial department and include the education/programs staff, the exhibition designer/preparator, and the collections manager. If MCC is to present "great programming," it seems they have some work to do.