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
"Reader on a Black Background": Sarah Meigs was curious to understand more fully "The Decorator" ( 2010.ink, gouache, colored pencil, charcoal and gold leaf on paper 57.5" x 85") which she purchase for his most recent PDX exhibition. Meigs invited Tharp to curate an exhibition for which Tharp selected works from her collection including "The Decorator" and write a corresponding essay. CLICK ON IMAGE FOR MORE INFORMATION
Read moreThe show makes a strong argument for photojournalism’s interacting with art. In the context of Nina Berman’s photo series depicting a soldier disfigured by a suicide bomber in Iraq and Stephanie Sinclair’s gruesome shots of Afghan women who have self-immolated as a form of protest, the stained, splotchy faces in Storm Tharp’s washy gouache portraits begin to evoke abrasions or burns. The theme of bodily disfigurement is continued elsewhere in the juxtaposition of Thomas Houseago’s hulking, seemingly hacked-at sculpture of a crouching figure with David Adamo’s installation comprising an ax, its wooden handle cracked and eroded, stuck into the wall and surrounded by whittled-down canes. Adamo’s ax appears to have done a number on Houseago’s statue, while the canes evoke missing limbs.
Not that "2010" doesn’t make missteps. I wanted to like the Bruce High Quality Foundation’s installation: a hearse, headlights ablaze, playing on its windshield clips from various TV shows and movies to a soundtrack ranging from "A Whiter Shade of Pale" to the "Star-Spangled Banner" and including a voice-over recounting an aborted love affair with the U.S. ("We fucked America to make America disappear"). But the work comes off as juvenile, bathetic, too tongue-in-cheeky by half. One marvels that light fare can be so heavy-handed; Josephine Meckseper displays a far more nuanced take on capitalism’s ills in her brooding video meditation on Minnesota’s sprawling Mall of America. And although Lorraine O’Grady’s sepia-tinged photographs of Michael Jackson and Charles Baudelaire convey something ineffable about the romantic nature of celebrity and America’s worship of it, their pairing with the Bruces’ piece feels ponderous. Still, O’Grady’s photos beat out by miles Daniel McDonald’s kitschy sculpture in the museum’s lobby of Jackson with Uncle Sam being rowed across the river Styx by Charon, which has all the subtly of Beetlejuice-era Tim Burton.CLICK FOR FULL REVIEW