Tad Savinar's 'Selected Works about Cities' is currently on exhibit at the Governor's Office, presented by the Oregon Arts Commission. The artwork will be on view until September 27, 2012.
More information here: http://www.oregonartscommission.org/content/tad-savinar’s-selected-works-about-cities-exhibited-governor’s-office
Savinar will also be exhibition with Tony Labat at the Atlanta Contemporary Art Center in 2013 from January 11 - March 17. From their website:
"This exhibition combines the interdisciplinary works of Tony Labat and Tad Savinar, who each use humor and straightforward presentation strategies to explore human foibles, social structures, and political history. Labatt is an influential teacher of new genres at the San Francisco Art Institute and a fixture in the art and music scene in California; Savinar is a visual artist, playwright, designer, and urban planner based in Portland, Oregon. This pairing offers a meditation on conceptual art as practiced by two artists who have worked for decades in specific West Coast locales."
More information can be found here: http://www.thecontemporary.org/exhibitions/tony-labat-and-tad-savinar/
Read more“How can the Deep Collective Aesthetic Inform the Ethic?
When I work with these Coal Qualities, they eventually connect up and my Coal Sensibility is awake. It seems that the Old Dead Organs of Perception become New and Alive Again when I am practicing with these Qualities.
My...Read more
... Using LED lights contained in linear sculptures rather than oil on canvas, Johannes Girardoni expands the second floor East Gallery with his blue/green light experiment called "Chromosonic Field", which includes a device known as a Spectro-sonic Refrequencer which converts light into sound. [He is] internationally renowned for [his] vigorous experiments with light and color and is not to be missed!
Read moreoin the New York Historical Society on Friday, March 10, at 1pm (ET) for On Being and Belonging in America: Recalibrating Dialogue and Gallery Space for American and Native American Art. This conversation centers on the Peabody Essex Museum’s new installation of Native American and American art, exploring the challenges and rewards of combining two collections to consider what it means to belong in America, and how artists have the power to transform what we see and how we think.
https://www.nyhistory.org/programs/on-being-and-belonging-native-america...
Photograph by Robbie McClaran
In an effort to showcase regional excellence in the sponsorship and advancement of the arts PDX Contemporary Art is ringing in the New Year by giving the gallery to Crow's Shadow Institute of the Arts from January 3rd to January 19th for the exhibition of prints produced under The Ford Family...Read more
"About Face" - Arnold Kemp at the Fine Arts Center, University of Arkansas. October 24-December 4. Included in the exhibition are works by Philip Guston, Trenton Doyle Hancock, Rashid Johnson, Mary Reid Kelley, Arnold J. Kemp, Amy Pleasant, and Carrie Mae Weems....
Read more"Mary Henry: The Last Constructivist"
I want my work to overpower me, to be more dominating than
I am, to have a life of its own so that when one of my paintings goes
out into the world, it can establish itself with no further help from me.” CLICK ON IMAGE FOR MORE INFORMATION
We're excited to co-host a series of Saturday morning reading discussions in the gallery June 9th, 16th, and 23rd from 11:30-1pm. Discussions are open to the public.
Join us at PDX CONTEMPORARY ART:
Saturday, June 9th, 11:30am-1pm with Emily Squires
Saturday, June 16th, 11:30am-1pm with Rachel Hines
and Saturday, June 23rd, 11:30am-1pm with Ariana Jacob
...
APEX:Vanessa Renwick, "Next Level Fucked Up", MAR 26 – JUL 17, 2016 Portland Art Museum...
Read more"Recurrent Work", February 23 - April 2, 2014 . . .
Read more"Speculative Frictions" makes what poet Joan Retallack refers to as a "poethical wager" on the "Experimental Feminine" or open-ended research into the unintelligible as opposed to the hypothesis-driven scientific method (masculine) research that stakes out its end position (the hypothesis to be...Read more
The Puerto Rican town of Carolina is known as La Tierra de Gigantes, the land of giants, in honor of its most famous inhabitant: Don Felipe Birriel, the tallest man in Puerto Rican history. We use the same expression for Puerto Rico itself, as it is one of the smallest Caribbean islands and yet...Read more
The Trunk of a Tree
The Latin root of the word Codex is Caudex, which means the trunk of a tree or block of wood. The word now references a bound book (the word codex has basically been replaced by the word book leaving it to mostly reference early scriptures or manuscripts). For the last...Read more
Why such a silly title ? Because the art world can seem to be insular and a bit opaque. In the conversation we will try to demystify acquiring art and building a collection. Collecting fine art expands horizons and enriches life and it is more accessible than many believe it to be...
Read moreOpening on Saturday, March 8, Garden Party, along with the first daffodils, is a colorful, festive harbinger of spring...
Read moreHazy tones and ethereal wisps Joe Macca makes luscious, old-fashioned abstract paintings, yet he manages to do so without feeling stubbornly old-fashioned.
Read moreEvery culture has its own unique traditions of heritage, honoring the passage of life and the objects or legacies people leave behind. This might come in the form of elaborate ceremonies, reliquaries, or heirlooms.
However, when my parents were old enough, they moved as far away from...Read more
I 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
"Tharp's fluid and loopy portraits in gouache and ink, which were featured in the 2010 Whitney Biennial, are gone, replaced by portraits and object studies, several in oils, that emphasize more earth-bound depictions of his subjects. This shift plays to his strengths, making "Tiger," which contains some truly exceptional compositions, the most effortless and natural body of work Tharp has shown in Portland." ...
Read moreA reductive enquiry into the merger of architecture and light via painting, photography and sculpture are the hallmarks of Johannes Girardoni’s work. Titled “Light Matters,” the exhibition occupies two separate rooms in what could be two separate shows. But the longer we look, the more the lines of distinction between the various approaches are blurred and therefore united. The main gallery houses sculptures which contrast found wood with a tactile paint composed of beeswax and pigments. Some are spilt in diptych fashion; the raw states of wood are paired with thick, cakelike painted sections. The result is a satisfying hyper-state of nature, as geometrical shapes rise from the patina with a dripping, oozing effect. Many of the pieces are voids and enclosures - empty and fully present, sexy and spare, hollow yet full. While monochrome surfaces and content are implied, even when processed as such, the experience of any one color is multidimensional. Light intervenes. His odd mustard in “Diptych – Yellow Green” reminds us how curious and transient color from the natural world is, inviting but also strangely plastic and saturated. The rough found wood is celebrated as such, looking like it just left the farm. The placement of the pieces utilizes just about every surface in the space – on the walls, lying flat on the floor and somewhere in between. They are individuals in conversation with each other, and remind us that the artist is known internationally for his installations. Indeed, the artists will present an interactive light and sound installation at the 54th Venice Biennale later this year. Digital photographs of billboards in both urban and rural settings are the springboard for Girardoni’s “Exposed Icons” series, housed in the second gallery. These pieces are montaged and layered, filtered with digital color and then painted with house paint. Creating a complicated maze and history of experience, Girardoni explores with ease the seams between digital and analogue realms. These icons are a compressed sculpture, once again presenting and repeating the light and the void. Every applied digital or painted color field takes its cues from the natural colors already captured in “reality,” engineering shifts in our perception of space. The layers can be subtle with hidden histories of process, but in pieces like “Exposed Icon 5’” the paint is more the point. It is far from solid, leaving marks and traces of the artist’s activity, aiding the consolidation of many mediums into one. Perhaps the most convincing exploration of a readymade void is “Exposed Icon 21,” in which the billboard is a perfect white. It is then reflected back onto the Mojave Desert in the same blue as the sky above, thus producing a delicious double-monochrome.
Read moreRichard Speer reviews "Maybe it Takes a Loud Noise" CLICK ON IMAGE FOR MORE INFORMATION
Read moreOn Dan May, Salem, and me
A life-long friendship with Dan May began in the early 70s when I lived in Monmouth
and first met his classmates, Craig Klyver and Monte Shelton. The four of us briefly
attended the college then known as O.C.E. I transferred from that school to the...Read more
Like much of our past work, the images and objects in this exhibition reflect our affinity for and preoccupation with books. Photographic color fields of the dyed edges of pulp paperbacks; drawings of broken spines, stains, and warped paper; and sculptural tomes like weapons or weights; these...Read more
David Row reviews Molly Vidor's
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