News
Arnold J. Kemp: on internet radio earht2world.com
Wednesday Nov. 4th earth2world.com will be at PDX for Arnold Kemp's preveiw and again for First Thursday.
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PDX is experimenting with Portland entrepreneur and art advocate Trudi Nagel in hosting a casual conversation with Arnold and visitors during the openings. Listen in.Joe Macca: Oregonian review by Chas Bowie
Hazy tones and ethereal wisps Joe Macca makes luscious, old-fashioned abstract paintings, yet he manages to do so without feeling stubbornly old-fashioned.
Read morePatrick Abbey and Storm Tharp
Wieden+Kennedy, WK12 curates a small art show in conjunction with the literary festival, Wordstock, show/party on Wednesday 7 October, at The Cleaners at Ace Hotel. Patrick Abbey and Storm Tharp are among the artists included in this show.
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more information about "Wordstock" a wonderful, Portland literary event: http://www.wordstockfestival.comJames Lavadour: "A Concise History of Northwest Art" group show at Tacoma Art Museum
"A Concise History of Northwest Art"
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October 3, 2009 – May 23, 2010
More information about this exhibition: http://www.tacomaartmuseum.org photo: Roberta Lavadour.Marie Watt: The Fabric Workshop and Museum
Collaborating with the Fabric Workshop and Museum Marie Watt is creating an inhabitable felted cave complete with a storyteller hologram component. Image of the work in progress. The show opens at the FWM on Friday October 2nd, 2009
Read morePatrick Abbey and Molly Vidor:First Thursday: Galleries celebrate PNCA By D.K. Row, The Oregonian October 01, 2009
PDX Contemporary Art at PDX Across the Hall: Owner Jane Beebe shows work by two of her enduring and purest talents, Molly Vidor and Patrick Abbey, as well as pieces by a recent graduate of the college, Derek Franklin. (929 N.W. Flanders St.)
Read moreRyan Jeffery and Vanessa Renwick: Igloo Gallery Reception: Thursday, October 1, 6-10pm
The Soft Shovel, a Signal Fire exhibition at Igloo Gallery
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Reception: Thursday, October 1, 6-10pm
Open First Saturdays 1-5, and by appointment.Vanessa Renwick: Bluesky Gallery, First Thursday opening Oct 1st
Blue Sky will be showing Vanessa Renwick's projection "Britton, South Dakota".
Open Tuesday through Sunday, 12 - 5 pm.
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122 NW 8th Avenue, Portland, Oregon 97209 USA
503-225-0210 bluesky@blueskygallery.orgAnna Gray + Ryan Paulsen: Lecture at the Cyan Building
Sunday September 13th at 1:00 p.m. Anna and Ryan are giving a talk about their work in conjunction with a PNCA Alumni group show in the lobby of Cyan.
image Subject and color index "Beyond Sleep"
Read moreNell Warren: Port review
Nell Warren's exhibition "Storied" at PDX Contemporary art is a refreshing example of a contemporary twist on the tradition of landscape painting.
Read moreWes Mills and Megan Murphy at Saranac Art Projects
Wes Mills and Megan Murphy at Saranac Art Projects, September 4 - 26, 2009, Wednesday through Saturday 12 to 5 pm, W. 25 Main Street, Spokane, WA, 99223, www.saranacartprojects.org
Read moreRyan Jeffery: at PDX Sunday Sept 6th, 6:30-10 pm. PICA TBA performance "Younger"
Sun . Sept 6 . 6:30-10 pm "Younger". Ethan Rose, Laura Gibson, and Ryan Jeffery. Audiences are invited to experience the live mixing from outside the gallery, where sound will spill out and projections will fill the windows.Younger
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Ethan Rose, Laura Gibson, and Ryan Jeffery
Go See It !
location:
* PDX Contemporary Art
* 925 NW Flanders
* Portland OR 97209
* 503.222.0063
* Free Admission
* All Ages (More TBA Info. PICA phone # 503.242.1419, http://www.pica.org/festival_detail_new.aspx?eventid=501)Terry Toedtemeier: Oregonian review by Chas Bowie.
The late curator and photographer Terry Toedtemeier is widely remembered for his impish charm and off-the-wall humor. With few exceptions, however, his silver gelatin landscapes of the Pacific Northwest are resolutely "on-the-wall" artworks -- aesthetically restrained and dry to the touch.
Read moreModern Parallels: Mary Henry and Helen Lundeberg
Mary Henry at Sun Valley Center for the Arts, Ketchum, ID
Read moreMegan Murphy: Sun Valley Center For The Arts
The Container Show
RE-opening 5pm, Friday, August 7The Center's newest exhibition space is showing four new artists starting Friday, August 7 - Jan Cox, Amanda Hamilton, Megan Murphy and Angela Tsai. the containers will be open for Gallery Walk until 8pm.
Read moreD.E.May:ARTFORUM review by Stephanie Snyder: D.E.May's "Black Page" ("Black Page" continued through July 15th)
“Black Page,” D. E. May’s fifth solo exhibition at this gallery, furthers the artist’s hermetic examination of the material ephemera and vernacular traces of the Pacific Northwest. His new drawings and assemblages consist of serial works on paper housed in reflective transparent document holders installed throughout the gallery in a variety of grid forms. With nearly forty drawings in the exhibition, the room is electric with the raw and refined energy of May’s passionate exploration of spatial forms, language, and storied materials such as weathered cardboard, old notebook paper, and other unidentifiable objects flattened and compressed by life on the streets.
May collects and reuses materials that he affixes to intricate drawings of grids and architectural forms, or uses them as the surfaces for other similar drawings. In Untitled (459), 2009, for instance, a rectangle of sagging, stained-brown “skin” is positioned in the center of a square, vertical grid. It is impossible to discern the precise nature of the material or whether May had a hand in its transformation. This ambiguity, which runs throughout all the work, habitually refocuses the viewer’s attention on the organization and observation of experience. The exhibition might read like an archive, but the system at work is cryptic, private, and self-sustaining.
Most of the works in “Black Page” are either mounted on or incorporate thick black paper. One group, bearing the title of the exhibition, consists of plans, schematics, and notations for the construction of various improbable objects. These pieces are drawn in fat white marker on the black paper and are the humorously erratic unconscious of the exhibition, containing instructions such as ARTIST’S STATEMENT BASED ON THE FILM THE SWIMMER W/ BURT LANCASTER IN WHICH THE ARCHITECTURE ALONG THE HILLSIDE OF SWIMMING POOLS BECOME THE SUBPLOT INSTEAD OF THE BORED HOUSEWIVES. One can imagine each drawing in this extraordinary body of work as a frame from a long-lost documentary or cartoon.
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-Stephanie SnyderRyan Jeffery and Vanessa Renwick, 2009 Signal Fire Residents
PDX Artists Ryan Jeffery and Vanessa Renwick have both been chosen for residencies in the Signal Fire Trailer.
Read morePDX Contemporary Art recommended by Gus Van Sant
Gus Van Sant and 10 Counter Cultural Sights of Portland
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"PDX Contemporary Art is another arty fav of Van Sant. The space is run by his friend Jane Beebe who used to live down the street from him on Glisan, and showcases some of the best contemporary art in PDX."Mary Henry:art ltd review by Richard Speer: "Mary Henry: Paintings and Drawings"
PORTLAND
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Mary Henry: “Paintings And Drawings”
at PDX Contemporary Art
Nationally lauded although most consistently exhibited on the West
Coast, veteran painter Mary Henry enjoyed a long and fruitful
career. Her death on May 20—during the course of this show’s run—
at the age of 96, lent an unanticipated poignance to this chronolog-
ically expansive, formally cohesive exhibition. Born in Sonoma,
California, Henry earned her undergraduate degree at CCAC in the
1930s and her MFA in the 1940s at the Chicago Institute of Design.
There she studied under László Moholy-Nagy, gleaning from the
preeminent constructivist a predilection for the hard edge. In the
1960s and ’70s she combined Pop’s unabashed colors with
Minimalism’s austere forms.
There are other influences and integrations from the arc of 20th-
century abstraction. In the bright, blocky Metaphor(1995) and more
subdued Sarabande(1997) we see a reshuffling of De Stijl. A cheeky,
Stella-esque concentricity enlivens the bold bullseyes of On/Off 8A
On/Off 8B (1967), and Lichtenstein hovers around the cartoonish
lines and outlines of It Even Rains in California (1971). But the artist
shows her own sui generis hand in paintings that evoke her native
Northern California. Nowhere is this achieved more poetically than
in Full Moon Over the Mendocino Headlands(1971). A melding of
elegantly cinematic proportion (48” x 72”), finely honed gradations
of color, and archetypal imagery, it posits horizon line, silvery orb,
and cool, flat black stretching out implacably, evoking the chill of
windswept cliffside, the white noise of surf pounding rock. This is
the kind of painting you can feel on your face like droplets of salt
water on a midnight hike. Mystical in atmospherics, muscular in its
graphic punch, it balances Zen quietude and Western ambitious-
ness, intoning its own soundtrack in the mind’s ear: part bamboo
flute, part fugue, an Alan Hovhaness tone poem in acrylic paint.
Other geometric motifs include the mirror imagery of Memory Field
(1991) and Vermillion(1975) and the witty semantic juxtaposition of
Language Barrier with Orange(2005). A selection of works on paper
includes Social Realism-flavored landscapes from 1941 and a suite
of eight watercolors and ink drawings from 1964, showing the
artist’s movement from organic curves to rectilinearity. With its 64-
year span—from the 1941 drawings to a 2005 painting of
undiminished freshness—the show opened with the feeling of a
retrospective and ended on the heels of Henry’s death, providing a
fitting valediction.
—RICHARD SPEERBlue Chair
Nude Reclining
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