Of the many galleries participating in Photolucida, Portland’s monthlong photography showcase, PDX Contemporary Art’s three-person show is the most effective...Read more
Storm Tharp has been looking in the same mirror for more than a decade. It has moved with him from studio to studio, accumulating paint marks, bits of tape, and various scuffs. The mirror is as great an influence on his work as any other single tool, piece of research, beauti- ful peony, or sad song. For his residency at PICA, Tharp brings together objects and ephemera that provide the hidden, joyful, and meaningful subtext to his work to form arrangements in a room that is part studio, part gallery, and part home: a still life.
+Kristan Kennedy: High House is an arrangement of things and a constructed environment that is both of the studio and of the home. How do you define this space, is it in-between or a blend- ing of the two?
+Storm Tharp: My house and my studio are where I spend the majority of my time—but there are ideas in High House that are about other spaces. Being outdoors, being in the sun, eating alone— these kinds of things. The intent was to showcase real inspiration, or the ideas that fill life.
However, constructing the room and building the stage for High House was so amazing to watch happen. I love the room with nothing in it, as well. The sculpture of the room is inspirational on its own. Something to remember.
Putting this show together has caused me to think long and hard about my tendencies. There will be a very tidy presentation going on. Very formalized; an almost fetishized version of what surrounds me.
+KK: I know that both of us turn to the writings of Agnes Martin from time to time, and I love her quote: “When I think of art I think of beauty. Beauty is the mystery of life. It is not in the eye, it is in the mind. In our minds there is awareness of perfection.” What do you think of beauty and its place in art?
+ST: I have spun this answer for way too long. So many different versions resting in a word document, flooding my mind.
The question almost doesn’t make sense to me. My faith in beautyis so wild and devout that I don’t even think about its place in art. Beauty is everything. It is not a choice. Art is an idea that is beautiful. To question beauty is to broaden beauty. New forms, new ideas: the new beauty. Beauty does not dissolve.
I know it sounds all very correct and Christian-minded of me, but I guess, when you ask me about beauty and art, my mind explodes. I believe in the big picture of that question. I think it’s all beautiful and I think it’s all art. To believe otherwise is like building fences.
It reminds me of the Warhol quote that goes something like, “If everybody’s not a beauty, then nobody is.” I love that!
Perhaps you wanted me to comment on the value of pretty? Because that would be fun. Some other time...
+KK: Who lives in High House, meaning, who is the subject of this space, it is of you or of them? (Them being the people, things, and places you reference, directly or indirectly, in the objects, draw- ings, photographs, and plants in the installation.)
+ST: I love the idea that someone might actually get to live in High House. A shape-shifting existence: a transformer, a reflection of all its facets. A dark-and-hairy-Popeye turns a corner, becoming a lanky, stoned teenager. A sexless figure with crystal eyes and super-human sonar capabilities sits in a chair. Science fiction. An animal. A mother with a moment to herself. A memory.
I don’t know. I guess it’s me. But it’s funny; I don’t think of myself when I think of the things. I think of them. Beauty beyond me. So it’s tricky. It’s like that poem by Wallace Stevens that I sent to you last week: “I am what is around me... A black vestibule; A high bed sheltered by curtains.”
+KK: We have been talking about High House in some incarnation for many years. I still remember our late night studio conversation all those years ago, the one with the bottles of wine... I have a note on my wall that you posted to my door the next morning that says, “Was last night a trick or a sign? by the way that is a good name for a show. x ST.” I think I had just started working at PICA, and we were both on the cusp of solo shows at our respective galleries. Do you think this show is also a reflection of our relationship: artist- to-artist, curator-to-artist, friend-to-friend? And, if so, do you think that the show ends when the exhibition closes? Or will you forever be building High House (and asking my opinion of it)?
+ST: Ha! I will always be building High House, and you will always be subject to its change. But yeah, this show is not the suite of draw- ings that we discussed over a year ago. High House is happening because you were listening and doing some thinking for me. Artist- friend–to–artist-friend. You were looking out for me—challenging me—to look at a drawing not as a drawing but as a cup of coffee, or a plant that grows in a window.
+KK: What does it mean to be human?
+ST: The first thing I did was look up the word, humane. Being humane is a nice way to be human. But it doesn’t seem to address all of the mess and disaster that comes with humanity. What does it mean to be human? To have a conscience, I suppose. To ask ques- tions. To make out with your boyfriend.
Curated by Blake Shell, The Archer Gallery presents Vantage, an exhibition of artwork exploring perspective - visually, contextually, and perceptually. Featuring regional and national contemporary artists working in sculpture, video, computer animation, sound, photography, and installation, Vantage invites viewers into uncommon worlds, where meaning is reconstructed and reality subverted. CLICK ON IMAGE FOR MORE INFORMATIONRead more
ARNOLD J. KEMP
WHEN WILL MY LOVE BE RIGHT
The title of the exhibition WHEN WILL MY LOVE BE RIGHT refers to a composition recorded in the 1980s by Robert Winters and Fall. The song is of the genre of music that arose out of the black experience in America through the transmutation of...Read more
As an artist (under the name Anna Gray + Ryan Wilson Paulsen) we’ve been co-creating art and life projects for the past eleven years. Our work is diverse in shape and scope, often functioning in response to the texts we read and to the experience of reading itself, whether on a page, sign,...Read more
“Spun: Adventures in Textiles” is designed to address a chronic problem at museums: getting visitors to look at their permanent collections. Visitors can also learn to quilt in a drop-in studio or join the sewing circle of Marie Watt, an artist-in-residence, a Seneca Indian whose sculptures, made from blankets, will be shown nearby.Read more
The School of the Art Institute of Chicago (SAIC), a global leader in art and design education, announced the appointment of Arnold J. Kemp as the School’s dean of graduate studies. Concurrent with this appointment, Kemp joins the faculty of the Department of Painting and Drawing as a professor. Kemp comes to SAIC from Virginia Commonwealth University (VCU) where he is an associate professor and the chair of the Department of Painting and Printmaking.
Arnold J. Kemp has been making and exhibiting critically engaging art for 25 years while concurrently writing and publishing critical and creative texts. Since 2009, he has served as a mentor for graduate students in a full-time academic administration role at Pacific Northwest College of Art and VCU. While at VCU, Kemp introduced a rigorously diverse visiting artist lecture series, established a new curriculum and brought a global perspective to courses in professional practices for graduate students. Prior to that, he was the chair of the Master of Fine Arts in Visual Studies Program at the Pacific Northwest College of Art. He also worked as one of the founding curators of San Francisco’s Yerba Buena Center for the Arts.
“We’re thrilled to have Arnold join us as our dean of graduate studies at the School of the Art Institute of Chicago,” said Lisa Wainwright, SAIC’s dean of faculty and vice president of academic affairs. “The many roles he has played as an artist, curator, writer and lecturer are symbiotic with his personal research, art work and passion for preparing interdisciplinary artists for a lifetime of creative practice. Having the mindset of the artist and scholar within the School’s leadership is key to what makes SAIC, and its graduate programs in particular, so influential.”Read more
Storm Tharp featured in DOOMTOWN November 4 - January 13 @ PICA ...Read more
Landscape painting affords me a wealth of tradition and influence, and provides a platform that seems familiar and recognizable. 19th century romanticism, Japanese woodblock prints, and Abstract expressionism all factor into my works vocabulary. I work primarily in a reactive sense. A certain...Read more
Bean Finneran works with one simple elemental form, a hand rolled curve of clay, repeated and grouped into primary geometric constructions. The clay is a connection to time, to the earth and to human culture. The curve is a meditation on multiplicity in nature like individual blades of grass in...Read more
Girardoni’s works are reductive investigations of color, form, light and space. With an elemental material vocabulary—old wood, beeswax and pigment—the work’s physical constellation becomes both the carrier of an explicitly painterly event while also being the foundation of an immaterial...Read more
I paint plant cycles because they reﬂect most other life cycles. To recognize beauty requires a state of consciousness that enables us to step outside ourselves for a moment into collective openness and grace. Often the richness of the world precludes that experience. We live in a fast paced and...Read more
I've come to regard my work as representational - in a rather liberal assignment of the word. The portrait, the contour and the field are in reference to the senses, the intellect, and the uncanny. The work elicits meaning or feeling that is recognizable. Abstraction and representation walk hand...Read more
I 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 more
Included in group show "Water"Megan Murphy’s drawings are studies of water, place, and the West. Each piece is printed with a photograph of Silver Creek’s water and layered with transfer lettering. The text reflects on the environmental problems happening in the water. A list of the chemicals, golf courses, household water usage, and warming global temperatures are interwoven with the stories, history, and irony that Silver Creek represents. CLICK ON IMAGE FR MORE INFORMATIONRead more
This Sunday evening, PDX artist duo Anna Gray & Ryan Wilson Paulsen will release their new book "A Classroom Reader" at Publications Studio. Please join us for the book launch JANUARY 9, 2011, 6:30 - 9:30 PM @ PUBLICATION STUDIO, 717 SW ANKENY STREET, PORTLAND, OR 97205.
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 INFORMATIONRead more
PERSONAL STRUCTURES, LA BIENNALE DI VENEZIA, 2011
Hardback, 168 Pages, 109 color illustrations
This publication accompanied the exhibition PERSONAL STRUCTURES at Palazzo Bembo, part of the 54th International Art Exhibition - la Biennale di Venezia 2011. The exhibition presented 28 artists from 5 continents, representing 12 countries.
Available through www.cornerhouse.orgRead more
"Watkins' show is dominated by a series of poured ink works on paper … sumptuous pools of ink, which fork into thick bands and slinky rivulets … reveal[ing] her openness to chance, her willingness to permit the ink a voice in the collaboration. In that sense, Watkins' project take its cues from John Cage's methodical use of chance in creating his artworks, as well as the poured canvases of second-wave Abstract Expressionist painters such as Kenneth Noland, Helen Frankenthaler and Morris Louis."
- John Motly, The OregonianRead more
Heather Watkins' wood and fiber sculptures are inclued in the COCA Annual. The CoCA Georgetown Gallery is located in Suite 258 of Seattle Design Center at 5701 6th Ave S, Seattle, WA 98108, and is open Monday through Friday 9am to 5 pm. Work is on display through March 10, 2013Read more
22 January – 12 March 2016 - Athanasios Argianas, Ceal Floyer, Monika Grzymala, Victoria Haven, Susan Hiller, Sol LeWitt, Richard Long, Tom Marioni, Jonathan Monk, Julian Opie, Florian Pumhösl, Fred Sandback, Maximilian Schubert, K. Yoland and Jorinde Voigt ...Read more
"Morphologies" at c3: Initiative MARCH 31 - MAY 5.......................................Work from 2017 c3: Papermaking Residency artists Mary Campbell, Brenda Mallory, Benjamin Mefford and Jenene Nagy. Culminating from their experiences in the Pulp & Deckle studio, each artist utilized handmade paper as a primary medium to create new works that present ideas central to their art practice...Read more