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  • Georgina Reskala | Artist Talk at SFAC Galleries

    Wednesday, April 12, 2023
    7:00 p.m. (Doors at 6:30 p.m.)
    Free and Open to the Public

    Join Crossing Lines/Lineas que Cruzamos artists Arleene Correa Valencia and Georgina Reskala for a conversation about migration, materiality, and the power of memory. Moderated by Shana Lopes, Assistant Curator of Photography (SFMOMA).

    APRIL 12, 2023
    7:00 PM TO 8:30 PM
    SFAC MAIN GALLERY
    401 Van Ness, Ste. 126,
    San Francisco, CA 94102

    Full information: sfartscommission.org/calendar/arleene-correa-valencia-and-georgina-reskala-shana-lopes

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  • Georgina Reskala | Woven Voices/Voces Entretejidas: A collective textile workshop with Georgina Reskala

    Join Georgina Reskala at the San Francisco Arts Commissions for “Woven Voices / Voces Entretejidas” a textile workshop that brings people together to create a collective work.

    “For this workshop, participants are invited to share their stories and write their fears, troubles, heartaches, and wishes on a piece of fabric and attach them to a larger textile work on view in the gallery. By joining in community and engaging in the act of sewing we can begin to mend ourselves and our world. Reskala invites you to ‘leave’ your troubles and wishes on the tapestry where she will hold space for them and for you. 
    Reskala started this project three years ago at the beginning of the COVID-19 pandemic as a way to stay connected with her loved ones. After seeing how impactful this simple gesture of holding space for others was, Reskala grew the project to include women’s voices from places far and wide. With this workshop, she continues to hold space and heal together with newfound community. 

    Materials provided by the artist including hand-dyed fabric using avocados from Mexico. Refreshments also provided.”

    The event will take place on MARCH 25, 2023 from 1:00 PM TO 4:00 PM at the San Francisco Arts Commission (SFAC) Main Gallery
    401 Van Ness, Ste. 125,
    San Francisco, CA 94102

    RSVP recommended but not required.

    Full information on the workshop available here: https://www.sfartscommission.org/calendar/woven-voices-voces-entretejidas

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  • Jenene Nagy | Camp Colton Community Day: Session III

    Jenene Nagy will be an artist-in-residence at Camp Colton as part of Stelo Arts and Culture Foundation’s printmaking residency.

    There will be an open studio and community day on March 25, 2023.

    Jenene will have an artist talk at 1:15 pm.

    Full information and a list of events can be found here:
    https://www.campcolton.com/events/communityday3

    Camp Colton
    30000 S Camp Colton Drive
    Colton, OR
    97017

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  • Marie Watt | New York Historical Society Friday March 10, 2023. 1 pm est

    oin 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

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  • Jeffry Mitchell | "THIS Compost" Fairbanks Gallery

    Jeffry Is a visiting artist at Oregon State University College of Liberal Arts|School of Visual, Performing and Design Arts. An accompanying exhibition of his ceramic, textile and works with and on paper artwork is on view.
    "THIS Compost"
    02/27/2023 - 04/07/2023
    Oregon State University - Fairbanks Hall
    Monday-Friday 8:00 am - 5:00 pm

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  • Heather Watkins | "Dark Moves" exhibition at The Cooley Gallery, Reed College

    DARK MOVES
    Fabiola Menchelli & Heather Watkins
    February 16 to May 14, 2023
    12 to 5 pm, Thursday to Sunday

    Fabiola Menchelli and Heather Watkins are artists deeply invested
    in the sensory nuances and perceptual intricacies of luminescence, as well
    as its orbital complement—darkness (and shadow). With methodologies drawn from poetry, cosmogony, and scientific experimentation, the artists transform materials through meticulous and embodied forms of touch and transference. After decades of engagement, the artists have become the mediums of these transmissions—receiving and reciprocating the energies that breathe through their work, and their bodies, turn by turn.

    Conceptually and physically, it is the infinite granularity of darkness that grounds their sight-lines. Shadow becomes a medium in the artists’ hands, multiplying the organic curves and honed edges of their work across the hemlock floors and deep, azure walls of the museum. Menchelli and Watkins synthesize color, line, and form in ways that dematerialize modernist geometries, diffusing planarity into soft-hued angles and flowing pours.
    The artists are seekers of the indefinable in-between, where intentionality and unconscious meet—rising like a sunset on the other side of the earth.

    Working together over a two-year period, and working between Portland, Oregon and Mexico City, the artists studied one another’s processes and intellectual interests, discussing readings, and collaborating with the Cooley on the design of the exhibition. As they opened to one another’s work, and themselves, Menchelli and Watkins considered the phenomenology of the exhibition from artistic, as well as, personal perspectives.

    Menchelli states: “Heather and I kept having conversations about blindness and the experience of darkness—not as a cold and distant place, but as a place to inhabit and observe.” The voids and folds throughout the exhibition become moments of reversal, refraction, and disappearance—particularly in the center of the Cooley, where a hexagonal room with open ends echoes the internal geometries and shadows of Menchelli and Watkins’ work. As viewers move through, and around, the hexagon, their bodies describe the lemniscate—the symbol of infinity (∞).

    Fabiola Menchelli brings radical, new dimensionality to her most recent color photograms, transforming them into kinetic, sculptural events. This occurs when Menchelli mounts the completed prints onto a thin, stainless-steel plate that she bends, via machine, along the folds of the image. Menchelli explains:

    "I make this work in complete blindness in the darkroom, folding the photographic paper and exposing it to various color filters, sometimes solarizing the prints in the developing bath, pushing the image to its limits.
    The process feels like a blind choreography of unscripted motions—a set
    of unrehearsed variables that I improvise each time. The uncertainty of the process frees me, and frees the work from the prejudice of preconception.
    It is a process of learning and unlearning—of experimenting and ‘failing
    better’ each time, to use Beckett’s phrase. This unraveling feels uncertain
    and exciting. It has made me reconsider the fixed mechanisms of observation
    that we impose upon the body, upon observation, and upon our perception
    of ourselves. The act of observation goes beyond vision and can be a gentle and generous approach—pushing against the historical violence of the camera, shooting and capturing images that capitalize reality. Instead,
    I want to turn the lens inward, even remove the camera all together, and let the physical structure of the medium define itself, expanded and unfixed—
    liquid, open and multiple.’’

    The completed pieces become an abstract portrait of the interaction
    between Menchelli’s body and the photosensitive paper, as they dance in
    total darkness for hours at a time. We feel this choreography in the layers
    of translucent color and shape that travel the peaks and valleys of the steel. The finished pieces exude strength and volition, yet retain the poetic lightness that characterizes Menchelli’s visionary, camera-less photograms. Fabiola Menchelli brings radical, new dimensionality to her most recent color photograms, transforming them into kinetic, sculptural events. This occurs when Menchelli mounts the completed prints onto a thin, stainless-steel plate that she bends, via machine, along the folds of the image.

    Heather Watkins’ refined, and weathered, standing sculptures resemble textiles and drawings deconstructed into dimensional form. The rising arrangements begin on low plinths, delineating plots where time slows to the pace of Watkins’ sophisticated dialogue with form, and its shadow. Watkins enacts and re-enacts the elements of each installation in situ, over days, and weeks, as though writing or interpreting a text. The work’s phenomenological grammar is her private poetry. In fact, her small, atmospheric ink drawings—Before Things—interpret the first book of Ovid’s Metamorphosis. They are hidden within the space, on the cusp of luminescence. Atop the arrangements’ formal stacks of reclaimed wood and pedestals, designed by the artist, paper sculptures bend and arc. Their elegant and sinuous contours shimmer with the evidence of their past lives as drawings—gorgeous black ink-pours that Watkins held at the edges, and guided to resolution. Dark upon dark. To create the present-tense objects, Watkins excised the flowing lines, shifting them from darkness to light. Watkins offers a beautiful description of the process as it relates to her broader vision of perpetual creation:

    "The works in the exhibition take the process of creation through multiple, successive actions and gestures, each move informed by the last. The ink drawings that I transform into sculptures, for instance, trace my body’s movements as I guide the liquid across the paper, working with, and against, gravity, and participating in their formation in a vulnerable, yet physically immediate way, with heightened senses. I return to them with a blade, tracing their edges, drawing them out, and lifting them into new realities. Freed from their grounds, the fluid lines become something else—spatial, precarious, open, and unbounded.’’

    Processes of sustained transference have evolved throughout Watkins’ work over decades. In Dark Moves, they are accompanied by numinous gold reliefs, created by imperceptible forces that oscillate with a fluid lyricism, in dialogue with Watkins’ evolving, sculptural project.

    Like cosmic sisters, Menchelli and Watkins embrace the dialectic of darkness and light as a dialectic of purpose—an illusion of permanence allowing the mind to pause and reflect: and beyond that, to survive. What cosmic phenomenon is more fundamental to how we imagine ourselves than our struggle for self-realization through the earth’s diurnal rhythms? We live this moment every night—the moment dark and light separate—and we are born, wondering. As the curator of the exhibition, it has been a remarkable experience gaining so much knowledge about, and supporting, these two brilliant and dedicated artists. I am full of, and shadowed by, enduring gratitude and affection.

    — Stephanie Snyder, John and Anne Hauberg Curator and Director,
    Douglas F. Cooley Memorial Art Gallery

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  • Marie Watt | W Magazine

    Marie Watt was recently featured in W Magazine!

    “Doing It Their Way” by Jori Finkel highlights five contemporary Native artists who are bringing ancestral techniques and materials into a contemporary art context.

    Congratulations, Marie!

    The article is available here:
    https://www.wmagazine.com/culture/contemporary-native-artists

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  • An Open Conversation with Tad Savinar and Linda Tesner

    Artist Tad Savinar and curator and arts writer Linda Tesner discuss Savinar's new show "M U S I N G S FROM THE FUTURE," showing January 11, 2023 to February 25, 2023 at PDX CONTEMPORARY ART.
    The exhibition marks Savinar's 50th year working as a artist.

    You can listen to the talk here:
    https://youtu.be/zvGhCHGB9KM

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  • Joe Rudko | Getty Museum

    The Getty Museum recently published an article on Joe Rudko. as well as added his piece "B/W" to their permanent collection.
    Congratulations, Joe!

    You can read the full article here:
    Artist Joe Rudko on the liberating power of collage
    https://www.getty.edu/news/cut-and-paste/

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  • Tad Savinar | Art Focus KBOO interview

    Tad Savinar was recently interviewed for Art Focus on KBOO radio.

    "On Tuesday, January 17, 2023, at 11:30am Joseph Gallivan interviews artist Tad Savinar about his new show M U S I N G S FROM THE FUTURE, which is on now at PDX CONTEMPORARY ART though February 25. Savinar talks about the parlous state of politics and the planet, time spent at home during COVID-19, and outsourcing fabrication of his sculptures."

    You can listen to the interview here: https://kboo.fm/media/113855-tad-savinar

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  • Joe Rudko | The Stranger and Portland Mercury

    Joe Rudko was the featured artist of the week for both the Portland Mercury and The Stranger. Congratulations, Joe!
    You can read his interview for the Stranger with Corianton Hale were they discuss distorting perceptions, breaking rules, and the strange power of memory.

    Read the full interview here:
    https://www.thestranger.com/visual-art/2022/11/28/78744883/joe-rudkos-ab...

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  • OPEN THANKSGIVING WEEKEND

    In A Spoon Is, Watt investigates the complex history of a silver spoon from
    the Buffalo History Museum’s collection of Hodinöhsö:ni’ objects.
    The photogravure depicts a silver spoon that was rumored to be made from
    silver coins received by a Seneca family who sold their land as a result of the Buffalo Creek Treaty.
    During this time, Hodinöhsö:ni peoples, including the Seneca, were coerced into selling their ancestral lands.
    This led to a rupture between nations and tribes. The event broke with the concept of a “dish with one spoon” often employed between tribes and in the context of treaties to avoid violent conflict. The “dish” represents the land that is to be shared peacefully and the “spoon” represents the individuals living on and using the resources of the land in a spirit of cooperation.
    The text around the spoon reveals and amplifies the complicated story of this animate object, while also acknowledging the history of spoons in Hodinöhsö:ni culture. The handwritten language further reflects on spoons as a method of conveyance, community, sustenance, craft, and tradition.

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  • Marie Watt | Visiting Artist Lecturer at University of Oregon

    Marie Watt will be the Visiting Artist Lecturer at University of Oregon Thursday, November 10 at 4:00 pm. 

Lectures will be in Lawrence Hall, Room 115, 1190 Franklin Boulevard, Eugene, OR 97403 and will also be live streamed and archived on the UO College of Design YouTube: https://www.youtube.com/playlist?list=PLkb9sZzZWwEXut43HyuC0Xqr6k-DR_YPR

    Marie Watt: Calling Companion Species
    Thursday. November 10, 4:00 pm

    More information:
    https://artdesign.uoregon.edu/art/events/visiting-artist-lecture/marie-watt

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  • A Conversation with Anna Gray + Ryan Wilson Paulsen

    Please join us Saturday, October 22, at 10:30 am for a conversation with Anna Gray + Ryan Wilson Paulsen on the occasion of their exhibition sandwiches for every meal. 

    sandwiches for every meal is a gathering of works inspired by searching for moments of quiet attention where we might notice the architecture of rural road signs, fall asleep while reading, accept the feeling of speechlessness, dismantle our old textbooks, watch a rocky shore or the changing qualities of the moon. Where we might explore the possibilities of silence, fish all day, remember what it's like to be part of a crowd or make layered forms of sustenance from simple means. 

    Please RSVP for the conversation at info@pdxcontemporaryart.com.

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  • Adam Sorensen | The Stranger & The Portland Mercury

    Adam Sorensen was the featured artist of the week for both the Portland Mercury and The Stranger. Congratulations, Adam!

    You can read his interview for the Stranger with Corianton Hale discussing nature’s grandeur, studio rituals, and the spirituality of painting here: https://www.thestranger.com/visual-art/2022/10/03/78560771/adam-sorensen...

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  • Nick Blosser | Ortlip Gallery Houghton University

    Nick Blosser's exhibition "Territory" is now open at Ortlip Gallery at Houghton University in Houghton, NY.

    More information about the show can be found here: https://www.houghton.edu/alumni/nick-blosser-exhibit-territory/

    ___
    Houghton University is proud to announce the exhibition of artist Nick Blosser’s paintings titled “Territory” on display from September 2nd through October 9th in the Ortlip Gallery at the Center for the Arts in Houghton, NY. All are welcome to attend the exhibit’s opening reception on September 2nd from 6:00 p.m. – 8:00 p.m. with a Gallery Talk beginning promptly at 7:00 p.m. Light refreshments will be served. If you are unable to attend that evening, the gallery is open Monday through Saturday from 9:00 a.m.- 6:00 p.m.

    Blosser received both his Bachelor and Master of Fine Arts degrees from The Ohio State University and went on to teach Art at Milligan College in Johnson City, Tennessee from 1991-2021. He has exhibited extensively throughout the country from New York City to Portland. In 1985 he received the prestigious Rome Prize and was selected as a Fellow of the American Academy in Rome. He has received multiple fellowships and endowments including the 1991-92 National Endowment for the Arts Individual Fellowship. He is represented by PDX Contemporary Art Gallery in Portland, Oregon.

    In recent years, the subject of Blosser’s paintings is what some might call “the everyday.” Blosser writes, “Each painting could be a new experience because I was getting my ideas from a source that provided ever replenishing motifs – nature. And, I could still use my love of form, shape and color and their abstract possibilities, but wed them with stuff from the natural world that many people encounter on an everyday basis but take for granted. From that time forward every new painting became a unique experience, and I’ve never become bored with painting nature as a starting point.”

    To more fully appreciate Blosser’s work one must suspend realism and view it as abstract. In other words, Blosser removes layers of what the literalist perceives, distilling his subject to the raw, bare essence. Somehow, by this stripping process, he draws out a far deeper beauty that many of us are prone to overlook. Richard Cummings wrote in the July 2011 issue of Ruminate Magazine that part of Blosser’s artistic brilliance is his ability to make his subject matter something that we all can relate to and feel a sense of familiarity with. Cummings states, “Far from a sentimental experience of nature, Blosser peers more deeply, seeing beyond the outward forms, allowing us a glimpse of the spiritual essences of the rolling hills and countryside. The trees, the bushes and even the hills are filled with presence and beauty. Though his subject is northeast Tennessee, the world that Blosser reveals in his egg tempera and watercolor landscapes describe the subliminal mystery of every landscape. His work points to the ‘more’ of existence and rejects the ‘only’ of the superficial.”

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  • Conversation with Adam Sorensen and Sara Krajewski

    Sara Krajewski, Portland Art Museum's Robert and Mercedes Eichholz Senior Curator of Modern and Contemporary Art, speaks with artist Adam Sorensen about his show "Water Color", landscape painting, and climate change at PDX CONTEMPORARY ART gallery in Portland, Oregon, September 22, 2022.

    The full conversation can be watched here: https://youtu.be/WhRDT4kPLJk

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  • Marie Watt | Stelo Arts

    Gather: Marie Watt and Cannupa Hanska Luger at Stelo Arts.

    How are we connected? What are the ties that bind us? These are some of the questions that Cannupa Hanska Luger and Marie Watt have been talking through via their joint residency with Stelo. As we celebrate the culmination of their multi-year residency, you are invited to the exhibition Gather, on view at Stelo August 13 - November 27, 2022. Visitors to the Stelo flex space will engage with pieces from Luger and Watt’s individual art practices, as well as their first collaborative art work, Each/Other. Watt and Luger merged their practices to create this sculpture with hundreds of people from around the world.
    The artists asked participants to embroider messages while considering “if acts of collaboration help heal broken bonds with the environment and with each other.” The artworks on view will be large in scale, sculptural, and will involve video and sound. Visitors will be encouraged to spend time in the space being with the work, and connecting with the potential for art to engage our hearts and minds.

    ___

    “Vivid Dream (Awakening) is in many ways a prototype and a test. It is a project I’ve been wanting, dreaming, to realize for some time. Gather is the perfect venue for its debut. The piece itself is the result of gathered stories, gathered jingles, and or gathered relationships.” - Marie

    Opening Event: Saturday, August 13, 2-5pm.
    From 2:30-3:30pm Stelo co-leader Tia Katcharian will lead a walk-through conversation with the artists and local fabrication supporter Neal Fegan from Camp Colton, and Shir Grisanti, founder of c3:initiative.

    August 13 - November 27, 2022
    Gallery hours: Friday - Sunday, 12-5pm

    412 NW 8th Ave, Portland, OR 97209

    All programs are free and open to the public and are ADA accessible. Face masks are recommended.

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  • Ellen George | NINE Gallery

    Visit Ellen George's solo exhibition at NINE Gallery, These Small Gentle Shapes, open August 5 - 27.

    NINE Gallery is located inside Blue Sky Gallery.
    122 NW 8th Ave Portland, OR
    Gallery hours: Wednesday - Saturday from 12 - 5 pm
    Blue Sky requires a mask while inside the gallery.

    Artist statement for These Small Gentle Shapes:

    I hand-form these sculptures using dense gypsum casting stone. It’s a durational process. I am rolling, folding, manipulating soft lumps of the mixture in the palm of my hand. I wait for the subtle changes that signal time is beginning to run out before turning to stone. It feels like listening for something that is silent.

    Although I have intention, each sculpture, using time and gravity, has the final say in its own making. Placed on its supports, each continues to move until it stops.

    I’m given a period of focused, satisfying engagement. In the end, these small gentle shapes are the result of letting go, letting them happen.

    For additional information: https://www.blueskygallery.org/nine-gallery

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  • James Lavadour's My Twin in Order / Reorder: Experiments in Collections at Hudson River Museum

    Order / Reorder: Experiments in Collections, a long-term installation at Hudson River Museum in NYC, has opened on June 17, 2022 and will run through September 3, 2022. This group exhibition features My Twin, a painting by our represented artist James Lavadour. The exhibition will explore new approaches to looking at American art that reconsider past and present expressions of American identity.

    Order / Reorder ranges across genres from portraiture and figural studies to still life, landscape, and abstraction. Rather than structured chronologically, the installation is designed to spark discussion through juxtapositions of styles, outlooks, and eras. Viewers are challenged to find connections in unexpected groupings of objects.

    James Lavadour has been living and working on the Umatilla Reservation in Northeast Oregon. Curator Prudence F. Roberts wrote the following about the visceral feelings that Lavadour’s paintings evoke in conjunction to his identity:

    “His paintings are shaped by a deep knowledge of the land that has surrounded him and his ancestors for generations: a knowledge that lives within him as a kind of cellular memory. Thus, in painting, his gestures unleash that memory. The acts of laying down paint, of scraping, of building up layers, often over long periods of time, replicate the ways in which natural forces and human histories have shaped the rivers and cliff faces, the rocks, and the hills that he sees on his almost daily drives. In his works, past and present collide in forms, spaces, and actions built of paint. They speak to place and they speak to history.”

    For more information about Order / Reorder please visit: www.hrm.org/exhibitions/order-reorder/

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