PORT2012-05-15T23:20:25ZPORT is an online visual arts publication dedicated to critical discussion as lensed through Portland, Oregon.tag:www.portlandart.net,2012://1Movable TypeCopyright (c) 2012, Jeff JahnPaul Pfeiffer lecture at PSU2012-05-15T23:20:25Z2012-05-15T19:44:31Ztag:www.portlandart.net,2012://1.26252012-05-15T19:44:31ZPaul Pfeiffer's Vitruvian Figure (2009)
The Paul Pfeiffer lecture on Thursday looks like a winner for Portland artists interested in architecture and multimedia technology (a large portion of the scene), here's the PR:
"New York-based multimedia artist Paul Pfeiffer will deliver the final presentation in the inaugural lecture series, titled 'Firsts,' given by the Department of Architecture, Portland State University. Paul Pfeiffer will speak on Thursday, May 17, at 7pm, at Shattuck Hall Annex (at SW Broadway and Hall Streets) on the Portland State University campus. The lecture is free and open to the public.
Paul Pfeiffer is a New York–based artist whose groundbreaking work in video, sculpture and photography uses recent computer technologies to examine the role that the mass media plays in shaping consciousness. Pfeiffer prompts audiences to reconsider attitudes about the body, race, identity, faith and architectural space in contemporary society. His work has been exhibited internationally at renowned museums and galleries and is in private and public collections worldwide. He is the recipient of numerous awards and, notably, he is the inaugural recipient of the Bucksbaum Award, given by the Whitney Museum of American Art (2000)."
Artist Lecture: Paul Pfeiffer
PSU Department of Architecture
Thursday, May 17, 2012 - 7:00pm
Shattuck Hall AnnexJeff Jahnhttp://www.jeffjahn.comjeff_at_NOSPAM_portlandart_dot_netOpenings & Events Paul Pfeiffer's Vitruvian Figure (2009)
The Paul Pfeiffer lecture on Thursday looks like a winner for Portland artists interested in architecture and multimedia technology (a large portion of the scene), here's the PR:
"New York-based multimedia artist Paul Pfeiffer will deliver the final presentation in the inaugural lecture series, titled 'Firsts,' given by the Department of Architecture, Portland State University. Paul Pfeiffer will speak on Thursday, May 17, at 7pm, at Shattuck Hall Annex (at SW Broadway and Hall Streets) on the Portland State University campus. The lecture is free and open to the public.
Paul Pfeiffer is a New York–based artist whose groundbreaking work in video, sculpture and photography uses recent computer technologies to examine the role that the mass media plays in shaping consciousness. Pfeiffer prompts audiences to reconsider attitudes about the body, race, identity, faith and architectural space in contemporary society. His work has been exhibited internationally at renowned museums and galleries and is in private and public collections worldwide. He is the recipient of numerous awards and, notably, he is the inaugural recipient of the Bucksbaum Award, given by the Whitney Museum of American Art (2000)."
Artist Lecture: Paul Pfeiffer
PSU Department of Architecture
Thursday, May 17, 2012 - 7:00pm
Shattuck Hall Annex]]>
Barnes Storming2012-05-15T05:29:08Z2012-05-14T20:24:39Ztag:www.portlandart.net,2012://1.26242012-05-14T20:24:39ZInterior of the original Barnes Foundation
I've discussed the Barnes Collection numerous times over the years, and now it is open to the public in a new building in downtown Philly. I haven't seen it yet but on principle I believe it is important to weigh in.
Christopher Hawthorne of the LA Times doesn't dig the building. Frankly it was an impossible commission, part of the charm is the destination, the old building smells, creaky floors and less than perfect light.
But even more fascinating is this very well written piece by Jerry Saltz that I nearly completely disagree with.
Though I generally applaud Jerry's sentiment that no collector should dictate the terms for best viewing the art (especially after they die) in this case I can't agree. Very few collectors deserve equal billing with artists but in this case I believe the incredibly idiosyncratic Barnes did. What is lost by creating a pseudo structure that makes the works more accessible is to lose part of the story of modern art and thus the roots of how we decoupled the power of the image (art, advertising etc.) from the institution and the state... (more)Jeff Jahnhttp://www.jeffjahn.comjeff_at_NOSPAM_portlandart_dot_netNews Interior of the original Barnes Foundation
I've discussed the Barnes Collection numerous times over the years, and now it is open to the public in a new building in downtown Philly. I haven't seen it yet but on principle I believe it is important to weigh in.
Though I generally applaud Jerry's sentiment that no collector should dictate the terms for best viewing the art (especially after they die) in this case I can't agree. Very few collectors deserve equal billing with artists but in this case I believe the incredibly idiosyncratic Barnes did. What is lost by creating a pseudo structure that makes the works more accessible is to lose part of the story of modern art and thus the roots of how we decoupled the power of the image (art, advertising etc.) from the institution and the state.
By making it more accessible/institutional and convenient one loses the esoteric sense of pilgrimage and it becomes a sort of Pirates of the Caribbean ride for early 20th century, mostly French art. In short my argument is thus, Art IS the refuge of brilliant crackpots (who therefore are not crackpots at all) and we should celebrate/indulge them when they reach Dr. Barnes' level because it tells a rich historical story that something like MoMA or the Whitney could not ever tell.
The fact that this couldn't be done is sad and probably a very East Coast problem (if the Barnes had been in Oregon or California we would have kept it in its original buildings). West of the Mississippi we like our idiosyncratic art people... Michael Heizer, Donald Judd, Robert Irwin, J.P. Getty, Sam Hill (Maryhill Museum), Armand Hammer, The Oliver Ranch, The Kramlichs, Winchester House, Peter Norton, Henry E. Huntington even Eli Broad for their ability to defy institutional conventions and say, "I'm going to do this my way." Sure, people grumble but that's the point of doing things your way. That inherent insolence is very American and its example goes far far beyond art... though art is perhaps the greatest teacher when it comes to individuality and more importantly original thinking.
Sure, great art like this justifies itself but I seriously doubt that better lighting and less creaky floors have enhanced or changed the standing of those pieces. We have gained access and lost the finer points of the plot by allowing this to happen to the Barnes in the name of tourism. Art history isn't just the art, it is the way esoteric eyes and minds seize on the ideas that these artists articulate so individually. Dr. Barnes was the shining example of the art story that isnt just the artsists. 500 years from now this move will continue to be seen as a tourism driven blunder masquerading in the false guise of populism (which really doesn't serve art anyways). ]]>
Friday Links2012-05-12T01:11:20Z2012-05-12T01:02:15Ztag:www.portlandart.net,2012://1.26232012-05-12T01:02:15ZI have expanded my thoughts on Peter Plagens' article in the Wall Street Journal. The repercussions of which should be felt for years because Portland does a lot of great things as an incubator and needs to consolidate those successes with rethinking its support structure and the way institutions calibrate their eye on the scene's often very unrelated strata.
Tyler Green takes a look at some fantastic Rembrandt self portraits.
Brian Libby looks at the most exciting new building in Portland's skyline... did I just type those words? Yes, Portland actually has an exciting new addition to its skyline.Jeff Jahnhttp://www.jeffjahn.comjeff_at_NOSPAM_portlandart_dot_netNews
expanded my thoughts on Peter Plagens' article in the Wall Street Journal. The repercussions of which should be felt for years because Portland does a lot of great things as an incubator and needs to consolidate those successes with rethinking its support structure and the way institutions calibrate their eye on the scene's often very unrelated strata.
Brian Libby looks at the most exciting new building in Portland's skyline... did I just type those words? Yes, Portland actually has an exciting new addition to its skyline.
]]>
Chase Biado at PSU's White Gallery2012-05-10T21:03:19Z2012-05-10T20:45:42Ztag:www.portlandart.net,2012://1.26222012-05-10T20:45:42Z
Chase Biado has a truly enigmatic sense of delivery and it comes through in his work. A while back he presented a video of a hilarious talking mushroom performing a long, off the wall diatribe (by Tom Cruise) at 12128 so I'm very curious to see his latest solo show at PSU's White Gallery, Spider Veins. There is an opening tonight 5-8PM.
To give you the flavor here is his Press release statement:
"I've been seeking out a certain line, a vein. It's a squiggly line ~~~~~ an uneconomic line, like an excess of time allowed for the line to be dragged. The pencil is held with slack. The line meanders towards its destination.
The spider vein is the wandering line that is too old to care ~ that has lost a destination and keeps going.
The spider crawls up the wall ~~~~~~~~~~~~~~ spider dance. The spider makes a line that is not necessarily choice. The drawn squiggly is not necessarily a choice, but tension held in the body.
I've tried to draw a line like veins crawling up the legs of old men and old ladies in their old swimsuits on the old beach, getting older. This is not a streamline.
~~~~~~~~~~~~~~~~~~~~~~~~~
There's a relationship in the line between time and tension. The spider vein is on vacation time. Its tension is drawstring tension.
The line defines the relationship: body to out-of-body, bound-self to unbound projection.
The line says, 'I am the spider, you are the web.'
varicose ~~~~~~~~~~~~~ varicose ~~~~~~~~~~~~~ varicose
Spider Veins
Artist's Reception: May 10 5-8PM
Littman & White Galleries| Portland State University
1825 SW Broadway #250 | 503 725-5656Jeff Jahnhttp://www.jeffjahn.comjeff_at_NOSPAM_portlandart_dot_netOpenings & Events
Chase Biado has a truly enigmatic sense of delivery and it comes through in his work. A while back he presented a video of a hilarious talking mushroom performing a long, off the wall diatribe (by Tom Cruise) at 12128 so I'm very curious to see his latest solo show at PSU's White Gallery, Spider Veins. There is an opening tonight 5-8PM.
To give you the flavor here is his Press release statement:
"I've been seeking out a certain line, a vein. It's a squiggly line ~~~~~ an uneconomic line, like an excess of time allowed for the line to be dragged. The pencil is held with slack. The line meanders towards its destination.
The spider vein is the wandering line that is too old to care ~ that has lost a destination and keeps going.
The spider crawls up the wall ~~~~~~~~~~~~~~ spider dance. The spider makes a line that is not necessarily choice. The drawn squiggly is not necessarily a choice, but tension held in the body.
I've tried to draw a line like veins crawling up the legs of old men and old ladies in their old swimsuits on the old beach, getting older. This is not a streamline.
~~~~~~~~~~~~~~~~~~~~~~~~~
There's a relationship in the line between time and tension. The spider vein is on vacation time. Its tension is drawstring tension.
The line defines the relationship: body to out-of-body, bound-self to unbound projection.
The line says, 'I am the spider, you are the web.'
Spider Veins
Artist's Reception: May 10 5-8PM
Littman & White Galleries| Portland State University
1825 SW Broadway #250 | 503 725-5656]]>
Monograph turns two2012-05-10T04:57:58Z2012-05-10T04:12:48Ztag:www.portlandart.net,2012://1.26202012-05-10T04:12:48Z
Sure Portland has some great big bookstores but there's this little one just off NE Alberta that has my heart... So join Monograph Bookwerks for their second anniversary. There will be Prosecco beverages and snax, book giveaways, friends and cheer to celebrate Monograph as it enters its "terrible twos"... never grow up little one and may everyone be lucky enough to witness an art book tantrum!
Monograph Bookwerks
B'Day Party: Thursday May 10th 7-10PM
5005 NE 27th ave at AlbertaJeff Jahnhttp://www.jeffjahn.comjeff_at_NOSPAM_portlandart_dot_netOpenings & Events
Sure Portland has some great big bookstores but there's this little one just off NE Alberta that has my heart... So join Monograph Bookwerks for their second anniversary. There will be Prosecco beverages and snax, book giveaways, friends and cheer to celebrate Monograph as it enters its "terrible twos"... never grow up little one and may everyone be lucky enough to witness an art book tantrum!
Monograph Bookwerks
B'Day Party: Thursday May 10th 7-10PM
5005 NE 27th ave at Alberta]]>
Opportunities knocking2012-05-07T21:35:35Z2012-05-07T21:34:05Ztag:www.portlandart.net,2012://1.26182012-05-07T21:34:05ZIn New Orleans the Jonathan Ferrara gallery is doing their 16th annual No Dead
Artists exhibition and they are pretty keen on having a look at some Portland
artists and increasing exchange between our fair cities. Deadline is May 15th
with high level jurors and a solo show for the grand prize. Follow this
link for full details. There's a connection here too as they represent Portland's
Brian Borello already.
With a deadline of May 8th is a call
for contemporary portrait photography for a show titled Mirror Mirror at Black
Box. Juror is Holly Andres.
Calling all PNCA alums... the call
for the 2012 Alumni exhibition looks like a doosey this year. Jurors are Randy
Gragg, Namita Gupta-Wiggers, Sarah Miller-Meigs, Deanne Rubinstein and Stephanie
Snyder. Open to all undergrad, graduate and CE certificate holders. Deadline is
June 24th.
PICA is hiring
a box office manager.
Deadline is June 1st for the second annual Industry
and Art show down at Swan Island.Jeff Jahnhttp://www.jeffjahn.comjeff_at_NOSPAM_portlandart_dot_netCalls for Artists
this
link for full details. There's a connection here too as they represent Portland's
Brian Borello already.
Calling all PNCA alums... the call
for the 2012 Alumni exhibition looks like a doosey this year. Jurors are Randy
Gragg, Namita Gupta-Wiggers, Sarah Miller-Meigs, Deanne Rubinstein and Stephanie
Snyder. Open to all undergrad, graduate and CE certificate holders. Deadline is
June 24th.
Deadline is June 1st for the second annual Industry
and Art show down at Swan Island.]]>
First Friday Picks May 20122012-05-04T21:57:53Z2012-05-04T19:16:26Ztag:www.portlandart.net,2012://1.26172012-05-04T19:16:26Z
Nathaniel Thayer Moss in progress at Worksound's Perceptual Control
We've been waiting for three months for Worksound's latest show Perceptual Control and it has been worthwhile seeing it develop over a series of talks... but it's time to see where this residency with, Nathanael Thayer Moss, Emily Nachison, Kyle Raquipiso, Jamie Marie Waelchli and PORTstar Amy Bernstein all ends up. The theme of, "exploring transcendence and perception," seems right on time.
Opening Reception: 7:00PM - 10:00PM | May 4th
Worksound
820 SE Alder Street
... (more: Customary Clothing and Dan Gilsdorf at 12128)Jeff Jahnhttp://www.jeffjahn.comjeff_at_NOSPAM_portlandart_dot_netOpenings & Events Nathaniel Thayer Moss in progress at Worksound's Perceptual Control
We've been waiting for three months for Worksound's latest show Perceptual Control and it has been worthwhile seeing it develop over a series of talks... but it's time to see where this residency with, Nathanael Thayer Moss, Emily Nachison, Kyle Raquipiso, Jamie Marie Waelchli and PORTstar Amy Bernstein all ends up. The theme of, "exploring transcendence and perception," seems right on time.
Opening Reception: 7:00PM - 10:00PM | May 4th Worksound
820 SE Alder Street
Calvin Ross Carl's Dropcloth Crop 1 (2012)
One of the things I love about Portland's scene and wasnt covered at all in the WSJ article was the fact that we have small shops that sell other things and actively present art in a professional though often less concentrated way. Which is all to say we should check out Customary Clothing in that great little Burnside arts district by the Jupiter hotel. In addition to premiering their S/S 2012 line of clothing, the shop will be showcasing art by Calvin Ross Carl, Ashley Sloan, and Nathanael Thayer Moss. I appreciate how art and life are not separated in Portland.
Customary Clothing Opening | 6-10PM May 4th
811 E Burnside Building, Suite 222.
Unless you are a staffer for the Oregonian everyone even remotely interested in the Portland art scene already knows Dan Gilsdorf has a show at 12128, a crab boat moored in the Willamette river just north of Linnton tonight. As usual for a 12128 opening there is a huge moon... The only thing that would make it even better would be Joe Macca and Peter Plagens dueling on deck with cutlasses, pens and paintbrushes?
12128 presents Dan Gilsdorf's Sentences
Opening Reception | Friday May 4th | 8-11PM
12128 is moored at: Multnomah Yacht Repair | 12900 NW Marina Way ]]>
First Thursday Picks May 3rd 20122012-05-04T02:55:45Z2012-05-03T21:11:26Ztag:www.portlandart.net,2012://1.26162012-05-03T21:11:26ZTori is a little busy graduating from Reed right now so I'll take this round of picks... you'll be seeing more of her sparkling contributions in the near future. From last month there are some very strong holdovers like Day Job at PNCA and Laura Fritz's Entorus. Here is what is new:
History lesson, in 1999 Heidi Schwegler's kinky work was the star of the most influential art show in Portland's recent history, the 1999 Oregon Biennial curated by Katherine Kanjo (it included video and installation art and made old timers crazy because there wasn't enough whittling, other stars Storm Tharp, Kristan Kennedy, Tom Cramer, Nan Curtis, Jacqueline Ehlis, Sean Healy etc. took part... it remade Portland's scene). Later, Heidi made a splash at the most ambitious Pearl District gallery Portland has ever seen, Savage. Then she kinda disappeared, much to my chagrin. Lately, she's turned up at the Hallie Ford Museum and snagged a well deserved Ford Fellowship. Which is all a round about way to say, welcome back to the Pearl District with this new tourism driven show The Known World... After April, The Pearl is a place that sorely needs any show that doesn't sport an endless barrage of landscape paintings.
Chambers@916
Opening Reception: 6-9 PM | May 3rd
May 3rd - June 23rd
916 NW Flanders (...more with; Light, Ryan Pierce, Tom Cramer and LITE BOX)Jeff Jahnhttp://www.jeffjahn.comjeff_at_NOSPAM_portlandart_dot_netOpenings & Events
Day Job at PNCA and Laura Fritz's Entorus. Here is what is new:
History lesson, in 1999 Heidi Schwegler's kinky work was the star of the most influential art show in Portland's recent history, the 1999 Oregon Biennial curated by Katherine Kanjo (it included video and installation art and made old timers crazy because there wasn't enough whittling, other stars Storm Tharp, Kristan Kennedy, Tom Cramer, Nan Curtis, Jacqueline Ehlis, Sean Healy etc. took part... it remade Portland's scene). Later, Heidi made a splash at the most ambitious Pearl District gallery Portland has ever seen, Savage. Then she kinda disappeared, much to my chagrin. Lately, she's turned up at the Hallie Ford Museum and snagged a well deserved Ford Fellowship. Which is all a round about way to say, welcome back to the Pearl District with this new tourism driven show The Known World... After April, The Pearl is a place that sorely needs any show that doesn't sport an endless barrage of landscape paintings.
Chambers@916
Opening Reception: 6-9 PM | May 3rd
May 3rd - June 23rd
916 NW Flanders
Installed view of Heechan Kim's work in Light
Has the summer group show season started already? Maybe not but this one is welcome, PDX Across the Hall presents Light a group showing of five largescale works by gallery artists Nancy Lorenz, Molly Vidor, and Johannes Girardoni, as well as guest artist Heechan Kim.
Erstwhile PORT writer (then his painting career took off) Ryan Pierce has been one of those few new names to the Pearl District galleries that has injected a great deal of excitement and intellectual energy. This month at Elizabeth Leach his New World Atlas of Weeds and Rags (New paintings) holds similar promise.
"In his second solo exhibition at Elizabeth Leach Gallery, Ryan Pierce continues his investigation and depiction of a world he imagines after the impact of climate change has been fully realized. Although his paintings seem to explore a dark side of our world, the artist actually presents a more positive and colorful twist on this future scenario then is immediately evident."
Opening Reception: May 3rd | 6-8PM
Elizabeth Leach Gallery
417 NW 9th, Portland Oregon 97209
Tom Cramer's latest at Laura Russo
Tom Cramer is probably Portland's unofficial artist laureate, except that it is probably official by virtue of sheer comprehensiveness and volume. He's everywhere on cars, in concert venues and hundreds of private collections. He never sits still or becomes very comfortable and his latest show sports some of his best works ever. Yes I bitch about Northwest art being too involved in "whittling" but Tom's work isn't just about the craft and labor he's engaged with the sublime/existential on an intellectual level, similar to artists like Munch, Klee, Pollock and that other Portlander Mark Rothko. Sometimes I just love it for its sheer trippy Germaness.
Opening Reception | May 3rd | 5 - 8 pm Laura Russo Gallery | 805 NW 21st Ave
And for something a little less Pearl Districty try out Light Box with Devon Maldonado, Mary Brossman and Randy Rapaport curated by Modou Dieng at Valentines.
"In this group of paintings I make pieces of my identity into vague symbols. My subject matter is familiar but my process is hidin. I use light to activate my paintings, and to extend painting into sculpture and installation. I idealize abstraction, which allows for my paintings to become not reproductions, but ambiguous representations of real objects. I hope my images embody the complicated dances of our generations' hustle. -Devon Antonio VanHouten-Maldonado"
Tonight May 3rd 9:00PM
Valentines
232 SW Ankeny, Portland, OR 97204
]]>
WSJ asks if Portland is America's next art capital?2012-05-12T05:35:02Z2012-05-02T22:53:58Ztag:www.portlandart.net,2012://1.26152012-05-02T22:53:58ZPeter Plagens visiting 12128 2 weeks ago
The Wall Street Journal has just published a fascinating report on the Portland art scene by noted art critic Peter Plagens. I was his Sacagawea, er... guide... so yes he's seen infinitely more of Portland's scene than DK Row (or any institutional curator besides Cris Moss and Blake Shell). So yes odds are he probably saw your show if it was up two weeks ago in an established venue. Plagens is a machine and a tough discerning customer who doesn't buy any BS. The first day alone we took in 9 shows scattered throughout the city. There will be some images in the print edition tomorrow but let's just take a quick once over the words right now.
Nice that he reiterated the "Capital of Conscience" term that I coined in an Op Ed for the Portland Tribune a few months ago. Because Portland is not a financial capital, NO we wont be a traditional art center like London, New York or Paris of yore. Instead, think of Portland like Weimar during during the Bauhaus years or perhaps Leipzig (the best 25 artists are definitely world class discoveries to be made, maybe only 6 are already known in Chelsea). Overall Portland is full of idealistic people doing idealistic things for the sake of ideals... giving things time to develop before money kicks in and changes things (for good and bad). Portland is a rebel base where art for art's sake is made. We have international art stars who live here too because it is a good environment to work and enjoy the company of other like mindeds.
Accurate in that it discussed Portland as a city where creatives work very hard... not just a bunch of slow paced hipsters who are already retired and eat Voodoo Donuts. The truth is most are working very hard to stay afloat and make work... yet some are carrying on an international career.
It is true, the alternative spaces are so much more adventurous than the commercial galleries... that could be said of most cities but it's my sense that many retreated quite far in 2008 when the market crashed. Instead of trying to drum up excitement by trying new artists (when nothing was selling anyways) they went for safer stuff. Honestly that makes sense, the gallery business is so difficult but perhaps this article will catalyze a way to narrow the schizm? Collectors might be more involved if they knew what Portland's larger scene was like? As it stands Plagens has seen more of Portland than most Portland collectors, curators and art dealers and he's right the installation art and some video is our strongest suit.
He loved Crystal Schenk's Artifacts of Memory (the last show we saw) and Laura Fritz's Entorus (he spent an hour with it... 45 minutes in silence), because frankly they are two superlative exhibitions that outclass everything but the Rothko show at PAM (yeah that good). They would stand out in Chelsea and you can still catch them both, do so.
He gives Joe Macca... hell. It's karma time Joey??? PORT's Patrick Collier just reviewed Macca's show too, and didn't go easy on him. He did think Ralph Pugay was hilarious so there you go.... (more) Jeff Jahnhttp://www.jeffjahn.comjeff_at_NOSPAM_portlandart_dot_netNews Peter Plagens visiting 12128 2 weeks ago
The Wall Street Journal has just published a fascinating report on the Portland art scene by noted art critic Peter Plagens. I was his Sacagawea, er... guide... so yes he's seen infinitely more of Portland's scene than DK Row (or any institutional curator besides Cris Moss and Blake Shell). So yes odds are he probably saw your show if it was up two weeks ago in an established venue. Plagens is a machine and a tough discerning customer who doesn't buy any BS. The first day alone we took in 9 shows scattered throughout the city. There will be some images in the print edition tomorrow but let's just take a quick once over the words right now.
Nice that he reiterated the "Capital of Conscience" term that I coined in an Op Ed for the Portland Tribune a few months ago. Because Portland is not a financial capital, NO we wont be a traditional art center like London, New York or Paris of yore. Instead, think of Portland like Weimar during during the Bauhaus years or perhaps Leipzig (the best 25 artists are definitely world class discoveries to be made, maybe only 6 are already known in Chelsea). Overall Portland is full of idealistic people doing idealistic things for the sake of ideals... giving things time to develop before money kicks in and changes things (for good and bad). Portland is a rebel base where art for art's sake is made. We have international art stars who live here too because it is a good environment to work and enjoy the company of other like mindeds.
Accurate in that it discussed Portland as a city where creatives work very hard... not just a bunch of slow paced hipsters who are already retired and eat Voodoo Donuts. The truth is most are working very hard to stay afloat and make work... yet some are carrying on an international career.
It is true, the alternative spaces are so much more adventurous than the commercial galleries... that could be said of most cities but it's my sense that many retreated quite far in 2008 when the market crashed. Instead of trying to drum up excitement by trying new artists (when nothing was selling anyways) they went for safer stuff. Honestly that makes sense, the gallery business is so difficult but perhaps this article will catalyze a way to narrow the schizm? Collectors might be more involved if they knew what Portland's larger scene was like? As it stands Plagens has seen more of Portland than most Portland collectors, curators and art dealers and he's right the installation art and some video is our strongest suit.
He loved Crystal Schenk's Artifacts of Memory (the last show we saw) and Laura Fritz's Entorus (he spent an hour with it... 45 minutes in silence), because frankly they are two superlative exhibitions that outclass everything but the Rothko show at PAM (yeah that good). They would stand out in Chelsea and you can still catch them both, do so. *(update, both closed now)
Yes he went to PICA, Reed, PNCA, Portland2012, Worksound, Gallery Homeland and PCC Sylvania (bought a t-shirt for the gym) but not PAM (his trip was pretty focused on alt spaces). He did miss PLACE (in Pioneer Square Mall), Half/Dozen and Milepost 5 etc... one cant hit everything. Lewis and Clark College was a "well we are close to it so let's go" that he ended up digging... L&C's visitor parking is terrible and we were on a schedule so didn't have time to walk 200 yards to the meter and back. Luckily we didn't get a ticket. Basically, it was his call where to go. He toured the Pearl District with nothing but a PADA guide (I didn't need to show him around that area, it isn't hard to navigate like the alt spaces and university galleries are). Besides who wants to spend THAT much time with me?
Yes the arts vote matters for whomever becomes mayor... candidates... I've been too busy to engage you much but that will change in the next few hours... check your inboxes soon... *Update None of these 3 will get 51% so after this primary we will engage the two candidates left standing.
Mr. Robert Dugay may go down as Portland's most heralded non-existent artist, but Ralph Pugay will probably make something of this gaff.
I'll add more here as I think of it.
*Update:
First of all I think the article revealed the various often unrelated stata in Portland's difficult to pigeonhole scene and even those alt space people not in the article felt it really rang true. Some artists clearly calibrate their work for a national audience and expectations (Schenk, Fritz, Pugay, Speer) others are playing the Portland game. I think the article was important in how it pointed out those two camps. The point being Portland's profile is so high internationally now that it odd when our commercial galleries and other institutions program as if nobody is watching but those from their own back yard. My message for 13 years has been... be ready. Well were you ready? Also the strata that doesn't know the score needs to fix that.
Speaking of strata. It is hilarious that the hopelessly irrelevant Oregonian thinks Plagens is a blogger... No, he's one of the world's top critics (you embarrass me)... do your due diligence, he wrote Sunshine Muse and knows the early stages (and greatest stages) of LA's art scene in the 60's and 70's intimately. He was also was here multiple times during the heyday of the PCVA. He's also capable of conversing more about the Portland of right now more than the entire staff of the Oregonian combined. You've been PWND, lick your wounds and learn something. Your article revealed how the Oregonian IS one of the weak links in Portland... I sincerely wish it wasn't.
Something we can learn from this is the fact that these alternative spaces and non-commercial university galleries are what the international art world is interested in. Currently RACC and the OAC do not directly support the Alt spaces at all (funding a specific artist's show one every year or two at such a space doesn't count, Im talking operational support). Besides the alt spaces are better at choosing who is worth giving support to than any RACC/OAC committee is anyways.
Instead of Making RACC/OAC (neither of which has ever personally awarded me a grant in 9 tries over 13 years... Note, I actually get paid to sit on national level grant panels) I suggest finding a way to vet certain alt spaces with a committee then disperse even token amounts of money to them $500-5000 depending on the scope of the operation would be of incredible help and the kind of validation or attaboy that they require to persevere. Right now it's just benign neglect but that isn't good enough... Houston lured Paul Middendorf of Gallery Homeland away.
Im not trying to be harsh but I want Portland to take this opportunity to learn what it's true successes, strengths/weaknesses are and act accordingly. Mayoral candidates... this subject is a microcosm of what you will need to be a great mayor.]]>
Among Friends; Joe Macca's Two Man Show at Marylhurst's Art Gym2012-05-02T22:41:07Z2012-05-02T05:02:13Ztag:www.portlandart.net,2012://1.26142012-05-02T05:02:13Z
If one were to take the two Cs in Joe Macca's last name, rotate them clockwise 90 degrees and smoosh them together, his name might then read as "Joe Mama," calling to mind the type of joke that relies on tasteless creativity in pursuit of one-upmanship. Stupid, ugly, poor, fat, or any other derogatory term these slams are built around, in the wrong setting are fightin' words. But these jokes don't always lead to violence. In organized "Yo Mama" contests, opponents compete to see who can come up with the vilest yet creative analogy. An agreement among like-minded practitioners to participate implies camaraderie and the understanding that by engaging in the activity, one must endure the abuse along with the risk that an element of truth lays therein. And even though brashness counts, if the teller of the joke fails in delivery or creativity, that would-be comedian then becomes the object of ridicule... (more)Patrick Collierhttp://www.patrickcollier.comptcpatrick@gmail.comReviews
If one were to take the two Cs in Joe Macca's last name, rotate them clockwise 90 degrees and smoosh them together, his name might then read as "Joe Mama," calling to mind the type of joke that relies on tasteless creativity in pursuit of one-upmanship. Stupid, ugly, poor, fat, or any other derogatory term these slams are built around, in the wrong setting are fightin' words. But these jokes don't always lead to violence. In organized "Yo Mama" contests, opponents compete to see who can come up with the vilest yet creative analogy. An agreement among like-minded practitioners to participate implies camaraderie and the understanding that by engaging in the activity, one must endure the abuse along with the risk that an element of truth lays therein. And even though brashness counts, if the teller of the joke fails in delivery or creativity, that would-be comedian then becomes the object of ridicule.
Installation view (photo Jeff Jahn)
I am, of course, not alluding to Macca's color field paintings that are included in the exhibit at the Art Gym, nor will I have much to say about those deft works in this essay; instead, for as if bee-line-drawn to the salacious, it is Macca's small paintings and paper constructions I wanted to see. Nor do I mean to imply via the opening paragraph that Macca falls short in his efforts to titillate and amuse. But is he too brazen?
Joe Macca's arm at his opening
On the whole, it may be assumed that most artists have a basic insecurity, a void, a lack that must be fought: Is my work getting the type of exposure it should? Is my aim true and are my motives sacrosanct? Is the work up to snuff personally, historically and amongst peers? To some degree, these things are all part of the inner dialogue. And don't let the smooth, suave operators fool should one want to point to these people as a counterpoint. The difference, of course, is how much one indulges these doubts when setting out to make art or moving about in the social world.
Of course, for anyone to acknowledge or speak of such things is a bit untoward, for they play into the tired cliches that artists must suffer, taunts that disallow wallowing in romantic notions held close to the heart. Not unlike betraying the secrets of one's collective as a gender to a member of the opposite sex, Macca exposes the underbelly of the way artists feel about themselves and their profession. The secrets of the delicate sensibilities. An irony in this, if there is one to be found, is that this is no different in any other social clique and part of being human, even if artists breathe a more refined air and expect more latitude. And if this is true, then artists should be expected to give more leeway as well. For instance, the late night drunken emails to either imaginary critical foes or those who neither help nor truly understand one’s art are forgiven by the receivers as we take our Kumbaya spirit to a higher level and muster compassion and empathy for one of our own in such pain, for we too have been there and done that, or certainly wanted to. Macca makes this faux pas public and calls it art. Is he allowed such license? And just how serious is Macca? If we take Macca's gestures of self-aggrandizement with a grain of salt, then so too we must snicker when he calls out another artist. And, if still bothered that Macca makes fun of other artists or defaces their work and calls it his own, then it is you who is in need of another's compassion and understanding, because somewhere along the line your sense of humor settled in your spleen.
All of this insider fluff may mean little, if gleaned at all by those outside the clique, and it may even be confusing why two such disparate bodies of work by the same artist are shown together. Yet, there is a method in the curation, one that I would argue goes beyond the "Two Man Show."
Entering the gallery, one first sees Macca's abstract work. There are two different bodies of work within this grouping, yet they are not dissimilar from each other and present a consistent whole. They are also what one might expect to find in a staid, serious exhibit. The small works that I have spent the bulk of my time extolling are in an adjacent room, for which exterior, demarcating walls were built for this exhibit. The creation of the two rooms provides us a literal placement reflected in the title of the show. Yet, there is third, smaller room that is also behind this partition, one that contains postcard and mail art by other artists, namely Mack McFarland and the duo Anna Gray and Ryan Wilson Paulson. Like some of Macca's postcards, many of these works have been sent to the curator, Terri Hopkins.
Mail art by Anna Gray and Ryan Wilson Paulson
Initially, these additional works by other artists feel somewhat incongruous to the Macca exhibition, an extension yet an afterthought, rather like "Hey, I have an idea! You (Joe) sent me postcards, and so did other artists. Let's show them as well!" And it is here that the curatorial hand is so strongly felt (aside from putting the more conventional work in the front room) that one wonders just how many people should we consider are in this exhibit. Certainly more than a "Two Man Show," and perhaps as many as five. It is only after spending a considerable amount of time in these two back rooms that the reasoning behind including these other artists starts to make sense beyond the obvious.
Macca's mail art
Granted, Macca has appropriated (defaced) several of Gray and Paulson's mailed pieces as his own art. This may be one opening to a segue. But by examining the motivations behind sending postcards, the curatorial decision might be more fully understood. On many Macca's postcards are labels of return addresses that include various correspondence schools that Macca has created as a front. The addressees range from a professional golfer and Oregon Ducks football coach to Hopkins herself. The cards are sent out incomplete with a request to be completed in some manner. Unlike those sent by McFarland and Ryan/Paulson, Macca has asked that the correspondences be participatory, even if it only serves to reflect back on the artist. It works for Macca, for within the whole body of work we begin to see a complex individual who may exhibit insecurity and aggression, yet also has a capacity for respect and humility. Given this range, this becomes more than a "Two Man Show" in more ways than two. And while there is no doubt that mail art in general has a social component, whether it be a show of gratitude, generosity or public relations, we eventually come to view Macca as more like a jester. Maybe. Because that’s what a jester does, blurs truth into folly, willingly plays the foil, seemingly at his own expense, and then lands a jab.
We may even come to believe that both his snide commentary about other artists while asking outside professionals to participate in his art is Macca's way of showing respect for all of everyone's accomplishments, even if some of it seems back-handed. However, the postcards sent to the gallery represent another aspect of Macca's perpetual dilemma: sending them to someone who may help his career, no matter how genuine the intent, carries an implicit subtext. And it can be said that the same holds true for the other artist's postcards and mail art. Not that this is necessarily a bad thing, for it is understood between all parties that this may be part of what is occurring. Yet, the trick is doing it in a way that is memorable, which is what Hopkins is representing as her own subtext in her multiple role of curator/recipient/participant. Otherwise, there is nothing unique in "just another mail art exhibit." For that matter, by adding the other artists and choosing to exhibit the abstractions in the front room, Hopkins' intervention saves Macca from being just another (self-) deprecating artist. Is this too cynical of a read? Again, I defer to Macca, for I trust he would see this particular rabbit hole as neither extreme or over thought/wrought.
Even so, others have wondered if Macca, being so unpolitic and self-disclosing in these small pieces, might be cutting off his nose. The man can paint, so why expose this other side? Because everything is inescapably encoded with a self-interest, and recognition of this is counter-intuitively liberating. Likewise, when we see the little manger scene on which Macca has painted his name over the name of the baby Jesus, he speaks to the pretense of humility we hide behind, to what we deny or ignore of our doubts and inadequacies in front of others, including our secret belief we are more deserving, more talented. To not trust and exclude, to fabricate meanings for our fabrications, or, to hide behind theories and rationalizations, these are our sins, and if Macca is unafraid to expose these truths, then, like Jesus, I suppose he is also prepared to die for exposing that part of our nature that is inescapably abject.
Two Man Show @ Art Gym
Tuesday - Sunday Noon to 4PM | Through May 18 2012
BP John Administration Building
17600 Pacific Highway (Hwy 43)
]]>
Last Month for 10th NW Biennial at TAM2012-05-02T08:07:07Z2012-05-01T06:07:48Ztag:www.portlandart.net,2012://1.26132012-05-01T06:07:48Z
It is the last month for the 10th Northwest Biennial at the Tacoma Art Museum, which runs through May 20th. Sure, nearly every institutional attempt at surveying a region's art production tells you more about that institution strengths and weaknesses than the art of that time and place, falling into at least one of several predictable missteps. (Also apologies, despite my best efforts I'm in this exhibition as an artist as well.) So it definitely isn't perfect. In this case the TAM show is too full but it does one thing that none of the recent spate of institutional survey shows have attempted... it has a coherent curatorial criteria, exploring the theme of multi-disciplenary art. Apparently, it helps having a consistent curator who is tasked with making the exercise intellectually viable? Novel idea! So for once this one isn't focused on "whittling" as a Northwest art staple and explores those who explore by crossing different disciplines and strategies.
What's more there more artists from Portland in it... (more)Jeff Jahnhttp://www.jeffjahn.comjeff_at_NOSPAM_portlandart_dot_netNews
What's more there more artists from Portland in it than any other city (once again that's if you are deluded enough to consider me an artist). I know, I know... nobody makes a goal of being big in Tacoma but Portland should pay a little more attention to this.
It even has some inspired related programming with the Hide/Seek show the next gallery over... so if you are interested in contemporary art, now is clearly the best time to plan a visit.
Below are a series of video interviews with Portland artists in the show (mind you these were mostly shot during or just after a day of installing):
Last but not least TJ (you have more friends and I want people to scan through them all).
Also, what's the deal with no Portland media sources besides PORT even paying attention to this? (something we always do) Seriously, I can't do everything... (esp. since I'm in it). Designed by architect Antoine Predock TAM is the coherently contemporary museum architecture in the Northwest so it is worth the trip for that alone. ]]>
Richard Milgrim and Hiroshi Senju at the Portland Japanese Garden2012-05-02T08:07:07Z2012-04-27T22:40:34Ztag:www.portlandart.net,2012://1.26102012-04-27T22:40:34ZRichard Milgrim, Canyon, (Konko-Gama 2004) photo Jeff Jahn
Currently, the Portland
Japanese Garden is hosting a fantastic dual exhibition, Meditative Moments,
consisting of noted Chado (Japanese tea ceremony) ceramicist Richard Milgrim's
works along with paintings by “waterfall artist” Hiroshi Senju. It
is an inspired pairing. Milgrim is in fact the first and only non Japanese Master
Chado ceramicist and though this practice is by definition “traditional”
(often a pejorative in the West not so in the East) this is indeed a working
and evolving tradition of which Milgrim is one of its chief innovators. Because
Chado ceramics are an inherently Zen practice, his unique East meets West approach
(with studios in Kyoto and Concord Massachusetts) suffuses everything from his
penchant for dark brown (traditional Japanese) and creamy white glazes (his
primary glaze in the USA). Both glazes being very similar to his dark hair and
light skin to the way his name “Richard” translates to with a pictogram
of Sen
no Rikyu the founder figure of Chado. Similarly Zen in coincidence, I was
honored to be given a chance personal tour, concluding with sharing tea with
Milgrim (prepared by his wife)... (more)Jeff Jahnhttp://www.jeffjahn.comjeff_at_NOSPAM_portlandart_dot_netReviews Meditative Moments at the Portland Japanese Garden (all photos Jeff Jahn)
Currently, the Portland
Japanese Garden is hosting a fantastic dual exhibition, Meditative Moments,
consisting of noted Chado (Japanese tea ceremony) ceramicist Richard Milgrim's
works along with paintings by “waterfall artist” Hiroshi Senju. It
is an inspired pairing. Milgrim is in fact the first and only non Japanese Master
Chado ceramicist and though this practice is by definition “traditional”
(often a pejorative in the West not so in the East) this is indeed a working
and evolving tradition of which Milgrim is one of its chief innovators. Because
Chado ceramics are an inherently Zen practice, his unique East meets West approach
(with studios in Kyoto and Concord Massachusetts) suffuses everything from his
penchant for dark brown (traditional Japanese) and creamy white glazes (his
primary glaze in the USA). Both glazes being very similar to his dark hair and
light skin to the way his name “Richard” translates to with a pictogram
of Sen
no Rikyu the founder figure of Chado. Similarly Zen in coincidence, I was
honored to be given a chance personal tour, concluding with sharing tea with
Milgrim (prepared by his wife).
Richard Milgrim in Portland
First, it must be noted that a Japanese
Garden (of which Portland's is considered perhaps the finest outside of
its country of origin) isn't the kind of private backyard playground like European
style formal gardens. Instead, it is perhaps best described as space for contemplation,
personal cultivation and culture of which the Chado is a very important part.
Chado is convivial, where connection between host and guest(s) is catalyzed
through the ceremony where each moment is unique or Ichigo-ichie. Thus,
it is especially wonderful that you too can have a bowl of Matcha (tea) in one
of Richard's works at the exhibition. Holding one of his tea ash glazed works
in your hand you feel the irregularities of the surface and as you turn it the
ergonomics shift subtly as one of the best kinesthetic art experiences ever
devised by man. The intense green of the Matcha or tea with its bamboo whisked
bubbles is just as meditative and sublime as the visual and material aspects.
Tea Ash Glaze Tea Bowl with Matcha
As Milgrim pointed out, “All of these are meant to be used” in contrast
to ceramics by modernist western masters like Getrude
and Otto Natzler. In fact, I found Milgrim's ease of discussing the volcanic
glazes of Otto Natzler to his own new innovation of tea ash glaze refreshing
and unguarded. Clearly, Milgrim is part of a living tradition that will be passed
down to others, whereas the Natzler's have a proprietary position in mid 20th
century cultural history... being of a certain historic period, whereas Milgrim
is part of a continuum and as such his works will likely be used for thousands
of years... bringing the works to life again and again through use rather than
artifact. Both approaches bring out the extremely fine qualities of the work
in different ways. Milgrim and I discussed the work, various collections and
homes of Donald Judd who was very influenced by Zen structures.
Canyon, Konko-Gama (2004)
Of the works on display the chawan or tea bowl titled Canyon by Gensitsu Sen
was among the most stunning with it's oblated square form and dramatic light
and dark glazes (not unlike sumi ink drawings or James Lavadour's paintings).
It turns out this piece occupies a particularly important place in Milgrim's
practice and his chief patron since it was fired in his Concord kiln with a view of canyons (which Gensitsu Sen must have intuited when he named it).
Of pivotal importance is how Milgrim was taken under the wing of Gensitsu Sen,
the 14th Urasenke grand master who became his patron and greatest advocate.
Often referred to as Daisosho or Great Grand Master he has been the greatest
advocate of sharing Chado internationally, which he prefers to describe as,
“The Way Of Tea,” as a way to promote worldwide harmony and understanding.
He gave Milgrim's Kyoto kiln the name of Richado-Gama (Nearly the same as his
name Richard) and made it possible for him to learn all of the various styles
of Chado ceramics, Raku with its irregularities being the one most familiar
to westerners. Traditionally a Chado ceramicist chooses just one style to practice
but Milgrim being a kind of bridge between worlds spans them all. I particularly
like the Daisosho translates Ichigo-ichie as “one time, one chance.”
There is a certain immediate intensity to that translation that fits so well
with Migrim or any ceramicist’s practice.
Faceted Water Container (2011)
I was also particularly taken with the various faceted ceramics on display.
There is something about the faceting that reminds me both of weaving and bamboo.
Hiroshi Senju, Kakejiku Sky #3 (2010)
Richard Milgram, Sun Rays(2002)
Although all of Hiroshi Senju's works on display work well with the ceramics
I was most struck with the way Kakejiku Sky #3 (2010) related visually to Milgrim's
Sun Rays (2002). Shenju's work calls to mind a meteor shower or a rainstorm
but I like how it relates to the streaming sunlight of Milgrim's bowl. Once
again very Zen.
Still, it was the handling of the juicy looking tea tree ash in a shallow bowl
(for warmer days) that was a highlight. Looking for all the world like the sap
from plants... the fact that Milgrim developed this innovative new glaze from
the ash of the highest grade tea plants is incredibly poetic... almost as if
he's fossilizing tea plants and by fusing it with the clay, much the same way
that drinking Matcha fuses the tea with the drinker. At Milgrim's request I
turned it in my hand and felt its weight shifting. If there was ever an very
visual art form that could be translated into braille... this would be it.
I left this experience feeling calm, reflective and intensely attuned the way
art affirms life by separating itself from the daily grind by savoring the moment.
Similarly because the exhibition ends this Sunday. I suggest you experience it.
Portland Japanese Garden
Through April 29th 2012]]>
Mayoral Candidate's Forum at PNCA2012-05-02T08:07:07Z2012-04-26T22:32:31Ztag:www.portlandart.net,2012://1.26092012-04-26T22:32:31Z
Saturday from 3-5PM at PNCA, the Pacific Northwest Science and Technology Foundation and the MFA in Collaborative Design program are presenting a forum with three mayoral candidates; Eileen Brady, Charlie Hales and Jefferson Smith, moderated by Peter Schoonmaker, Chair MFA in Collaborative Design. Question is, will these three finally distinguish themselves from one another for the likely pivotal cultural community vote? (not that THAT vote is one monogenic group. Their first forum on the subject was without Smith so I'm curious to see how they've distinguished their positions from one another since the first rather incomplete panel.) Also, if I didn't know better I'd say PNCA itself was trying to run for Mayor of Portland for the past decade. Here's the PR:
"Portland has a reputation as a center for creativity, technology, and design. From software to apparel to green technology, the opportunities for developing a vibrant creative economy are expanding. What specific actions can the City of Portland and our next mayor take to support and enhance Portland’s science, technology, and creative communities? Join the Pacific Northwest Science and Technology Foundation and the MFA Collaborative Design program at Pacific Northwest College of Art (PNCA) for a forum with mayoral candidates Eileen Brady, Charlie Hales, and Jefferson Smith. MFA in Collaborative Design Chair Peter Schoonmaker moderates a conversation on what Portland's next mayor should and can do to support the science-tech-creative sector in Portland."
Mayoral Candidates Forum | Swigert Commons (free)
PNCA | 1241 NW Johnson
April 28th 3-5 PMJeff Jahnhttp://www.jeffjahn.comjeff_at_NOSPAM_portlandart_dot_netOpenings & Events
Saturday from 3-5PM at PNCA, the Pacific Northwest Science and Technology Foundation and the MFA in Collaborative Design program are presenting a forum with three mayoral candidates; Eileen Brady, Charlie Hales and Jefferson Smith, moderated by Peter Schoonmaker, Chair MFA in Collaborative Design. Question is, will these three finally distinguish themselves from one another for the likely pivotal cultural community vote? (not that THAT vote is one monogenic group. Their first forum on the subject was without Smith so I'm curious to see how they've distinguished their positions from one another since the first rather incomplete panel.) Also, if I didn't know better I'd say PNCA itself was trying to run for Mayor of Portland for the past decade. Here's the PR:
"Portland has a reputation as a center for creativity, technology, and design. From software to apparel to green technology, the opportunities for developing a vibrant creative economy are expanding. What specific actions can the City of Portland and our next mayor take to support and enhance Portland’s science, technology, and creative communities? Join the Pacific Northwest Science and Technology Foundation and the MFA Collaborative Design program at Pacific Northwest College of Art (PNCA) for a forum with mayoral candidates Eileen Brady, Charlie Hales, and Jefferson Smith. MFA in Collaborative Design Chair Peter Schoonmaker moderates a conversation on what Portland's next mayor should and can do to support the science-tech-creative sector in Portland."
Mayoral Candidates Forum | Swigert Commons (free)
PNCA | 1241 NW Johnson
April 28th 3-5 PM]]>
Ditch Projects presents Mike Pare2012-05-02T08:07:07Z2012-04-25T23:15:23Ztag:www.portlandart.net,2012://1.26082012-04-25T23:15:23Z
New Mexico based Mike Pare is interested in subcultures and creates paper-based works that expand the narrative of such intense but fringe movements.
For his first solo show titled New Believers at Springfield's Ditch Projects Pare has chosen the Bhagwan Shree Rajneesh Movement, which famously usurped the small Oregon town of Antelope, as his starting off point.
"In this work, constellations of Rajneesh's narrative expand beyond rational investigation, and mutate into entirely new forms.
Rajneesh Things is an artwork in the form of an open edition tabloid Newspaper. The twelve page black and white tabloid contains articles, artwork, and designs based in investigations of the material culture of the Rajneesh Movement. Modeled after the original movement publication Rajneesh Times, Pare's newspaper visually mimics the style of underground press publications of the 1970s and 80s. The work functions as a platform for art making and journalism, but also serves as a coded fictional text and an object of material culture itself capable of everyday dissemination through its expendable form as a free paper. Free copies will be available at the exhibition.
The body of work entitled Devotional Goods is an exploration of material anomalies and the potential of art practice transcending a topic. working with the familiar drawing materials of graphite and paper, Pare creates large dark tie-dyed pieces that hint at melancholy and decay even as they radiate intense acid-drenched colors."
Ditch Projects: Mike Pare | New Believers
303 S. 5th Avenue #165 | Springfield OR 97477
Exhibition dates: April 28 - May 19, 2012
Opening reception: Saturday, April 28, 7pm - 10pm
Gallery hours: Saturdays 12 - 4 | info@ditchprojects.comJeff Jahnhttp://www.jeffjahn.comjeff_at_NOSPAM_portlandart_dot_netOpenings & Events
New Mexico based Mike Pare is interested in subcultures and creates paper-based works that expand the narrative of such intense but fringe movements.
"In this work, constellations of Rajneesh's narrative expand beyond rational investigation, and mutate into entirely new forms.
Rajneesh Things is an artwork in the form of an open edition tabloid Newspaper. The twelve page black and white tabloid contains articles, artwork, and designs based in investigations of the material culture of the Rajneesh Movement. Modeled after the original movement publication Rajneesh Times, Pare's newspaper visually mimics the style of underground press publications of the 1970s and 80s. The work functions as a platform for art making and journalism, but also serves as a coded fictional text and an object of material culture itself capable of everyday dissemination through its expendable form as a free paper. Free copies will be available at the exhibition.
The body of work entitled Devotional Goods is an exploration of material anomalies and the potential of art practice transcending a topic. working with the familiar drawing materials of graphite and paper, Pare creates large dark tie-dyed pieces that hint at melancholy and decay even as they radiate intense acid-drenched colors."
Ditch Projects: Mike Pare | New Believers
303 S. 5th Avenue #165 | Springfield OR 97477
Exhibition dates: April 28 - May 19, 2012
Opening reception: Saturday, April 28, 7pm - 10pm
Gallery hours: Saturdays 12 - 4 | info@ditchprojects.com]]>
Elena Buszek Lecture2012-05-02T08:07:07Z2012-04-24T20:10:48Ztag:www.portlandart.net,2012://1.26072012-04-24T20:10:48ZMarianne Jorgensen and the Cast-Off Knitters, Pink M.24 Chaffee 2006. (Photo Barbara Katzin)
Craft has definitely become an integral part of the contemporary art lexicon and I'm always fascinated by where the sometimes tense border lines between craft and serious art are drawn. Elena Buszek's lecture on April 25th at MoCC should fire off a few shots in every direction or is this discussion so 2006? What new developments have there been since craft stopped becoming a dirty word in serious contemporary art? (Hint: it coincided with the realization that art from Los Angeles has been the equal if not superior to New York since the 60's and last year's PST... or we can blame Dave Hickey's The Invisible Dragon essays for making "beauty" as an intellectual construct supportable again).
Her lecture Wednesday at the Museum of Contemporary Craft is part of the CraftPerspectives Lecture Series and the 2011-2012 Graduate Visiting Artist Lecture Series.
"Maria Elena Buszek is a scholar, critic, curator and associate professor of art history at the University of Colorado in Denver. Her recent publications include the books, Pin-Up Grrrls: Feminism, Sexuality, Popular Culture and Extra/ordinary: Craft and Contemporary Art. She has also contributed to the anthologies It's Time for Action (There's No Option): About Feminism and Blaze: Discourse on Art, Women, and Feminism and Contemporary Artists. She has written for the popular feminist magazine BUST since 1999."
Presented by Museum of Contemporary Craft and the MFA in Applied Craft and Design (PNCA + OCAC).
Lecture: April 25th | 6:30 - 8:30 PM
Museum of Contemporary Craft
The Lab | 724 NW Davis St. | 503 223-2654 Jeff Jahnhttp://www.jeffjahn.comjeff_at_NOSPAM_portlandart_dot_netOpenings & Events Marianne Jorgensen and the Cast-Off Knitters, Pink M.24 Chaffee 2006. (Photo Barbara Katzin)
Craft has definitely become an integral part of the contemporary art lexicon and I'm always fascinated by where the sometimes tense border lines between craft and serious art are drawn. Elena Buszek's lecture on April 25th at MoCC should fire off a few shots in every direction or is this discussion so 2006? What new developments have there been since craft stopped becoming a dirty word in serious contemporary art? (Hint: it coincided with the realization that art from Los Angeles has been the equal if not superior to New York since the 60's and last year's PST... or we can blame Dave Hickey's The Invisible Dragon essays for making "beauty" as an intellectual construct supportable again).
Her lecture Wednesday at the Museum of Contemporary Craft is part of the CraftPerspectives Lecture Series and the 2011-2012 Graduate Visiting Artist Lecture Series.
"Maria Elena Buszek is a scholar, critic, curator and associate professor of art history at the University of Colorado in Denver. Her recent publications include the books, Pin-Up Grrrls: Feminism, Sexuality, Popular Culture and Extra/ordinary: Craft and Contemporary Art. She has also contributed to the anthologies It's Time for Action (There's No Option): About Feminism and Blaze: Discourse on Art, Women, and Feminism and Contemporary Artists. She has written for the popular feminist magazine BUST since 1999."
Presented by Museum of Contemporary Craft and the MFA in Applied Craft and Design (PNCA + OCAC).
