Christopher Rauschenberg, Marche aux peuces, 2010, Froelick Gallery
June 20, 2011
Christopher Rauschenberg, Marche aux peuces, 2010, Froelick Gallery
June 10, 2011
In 2010, PAM partnered with Portland State University for "Shine a Light," a night-time party inside and outside the museum that featured food carts, beer and music, in addition to new ways of viewing art. Art-related activities included "marrying a work of art," touching art
Each visitor is photographed with their object and must share a "six word story" (a la Twitter) that explains it all in a nutshell. You can view the photos and short stories, such as "Roaring kissing dragon, don't be scared" or "A house has an aging soul" or "Middle school thesaurus thief" on the
May 28, 2011
Portland's Recology transfer station, an operator for Metro, has initiated a new program, inspired by the success of Recology San Francisco's Artist-In-Residence program. The Pacific Northwest Art Program is a collaborative effort of Metro, Recology and Cracked Pots. A panel of arts and environmental professionals have selected five artists to turn trash to art, by recovering discarded materials in one of our city's "dumps" and transforming them into new creations. The artists have six months to collect their goods, and will present their work in September this year. Learn more on the Cracked Pots website.
See more Recology artists in residence.
Other local organizations regularly exhibit reuse art in a variety of materials. ReDux, a boutique on Burnside that features environmentally conscious arts & crafts, is currently showing the work of artist Greg Brenden. Brenden transforms empty plastic milk jugs into fun and familiar animal forms, like chickens and bugs.
SCRAP Creative Reuse Center, in NE Portland, has a gallery devoted to art made from at least 75% reused or reclaimed materials. SCRAP's Re:Vision Gallery emphasizes the variety in materials and the innovative work of artists in the reuse field. Re:Vision Gallery will host twelve fiber artists in July and August.
May 26, 2011
The window beckons the visitor to come inside in hopes of seeing more of Sally Hayden Gilmore's work, and perhaps getting closer to it without the glass cooling and distancing the warmth and gentleness of the fibers. But alas, Gilmore is a guest artist and this teaser of her work is all we get. Perhaps we will see more of this Portlander's work in the near future.
Blackfish Gallery (420 NW 9th Avenue) is a cooperative gallery run by thirty artist members, who show in the space throughout the year. The gallery also offers one of its external exhibition windows along 9th Avenue, "Fishbowl 2," for the work of guest artists. There is an ongoing open call to artists for submissions for the Blackfish Window Project. Blackfish Gallery is open Tuesday through Saturday, 11am to 5pm.
Both images are from Sally Hayden Gilmore's website, where you can see much more of her work.
April 20, 2011
April 01, 2011
This year, the theme is "Time Flies," and there are three age groups for contestants. Envelopes must be postmarked by April 30th. Check out the Graceful Envelope website to see the work of winners from years past!
Written by: Eleanor Williams
March 13, 2011
If you are not interested in being a vendor, come on by anyway for the art and entertainment. Some of Portland's finest local bands will be on stage throughout the day, and the Mission Theater McMenamins restaurant will be open! Want to know more? Learn all about The Crafty Underdog on their website.
Art, Food, and Fun!!!
Written by: Kim Maruska
The same folks who brought Portland the Art Department, the fairly recently established (summer 2010) gallery and event space in the Central Eastside Industrial District, are now introducing an even bigger project. ADX is a membership-based collaborative workspace with tools and resources for professional creative thinkers and doers.
ADX is located at 417 SE 11th Ave., between Oak and Stark.
March 06, 2011
Owning a gallery in Portland is about as mysterious as a procumbent fern growing on the side of a cinder block. I wanted to see how a gallery, whose art I have consistently identified with, got on in this art-strange and "strapped" city of the Northwest.
It is impossible to hate any of the shows the Together Gallery puts on. I spoke with Timothy Karpinsky, the artist and man-o-war who connects solid ideas with great artists who contribute perennially. My main questions: What was the genesis of the well-oiled machine that you and fellow co-owners run? and, how do you function as a successful gallery when no one is really buying much art in Portland?
Timothy has meandered through Portland, occupying numerous spaces dedicated to design and art. Originally, he was downtown in an over-sized studio doing more design than art (design continues to be his "day" job on the side) to pay the bills. During the 6 years that Timothy had lived in the Alberta Arts District his house functioned as the focal point of an art community, while he showed work at local coffee shops with friends. Slowly, the ratio of art become dominant to the design and Timothy wanted a new space to work in outside-of-home and in which to show art. "It was just an idea," he remarked about the loose search for a working gallery.
While skating by a building in the Alberta Arts District, Timothy noticed an older couple moving furniture in and out. He asked if he could help them move some things and checked out the space, which was flooded with storage and claptrap and owned by a Yugoslavian couple. Timothy made an offer of $800 a month for the space, for work and for exhibiting art. The man said he would think about it; within an hour the Yugoslavian called him to make the deal. The first show in this building opened on a last Thursday 4 years ago.
At first, Timothy and friends showed their personal works in the gallery while working in the back. Despite the well-received showings and the seriousness that ensued, the building had its issues: there was only one electrical outlet, the roof leaked and there was no heat. The conditions edged on miserable. Timothy recalled that while working, they wore blankets to keep warm and they could see their breath. Despite all this, they decided to tough it out for 2 years, producing art, zines and books as well as showing work in the gallery.
The good things said about Together Gallery circulating around got back to Timothy and friends of Together gallery. Submissions started coming in every day. With backgrounds in design, the group created a strong logo design and a killer website that brought definite attention. Having established regular hours and created a welcoming environment Together Gallery was turning into the real deal. In response to artist friends from Los Angeles and San Francisco who saw the development wanted to participate, the Portland gallery began showing a mix of out-of-town and local art. The co-op has since churned out consistently good shows.
Meanwhile, as the gallery's first painting for $1,000 sold online the Together Gallery participants were floored. Even now, half of their business survives with online sales originating mostly from L.A. and San Francisco.
When the current and more traditional gallery space, with a workshop in the back, became available, Together Gallery decided to take the risk--and it was well worth it. After completely gutting the interior and building out the new gallery/workspace to their liking, the second goal was to go after bigger artists. "It's not hard anymore now, we just choose who we want to show," said Timothy. Nonetheless, friends, volunteers and fellow studio mates' partners have all shown their art in the gallery at one point in time. Everyone gets their fair share of real estate. Everyone chips in here; this is an honest portrait of a hard-working co-operative at its best.
Still, Timothy comments that selling art in Portland is hard to do. Together Gallery would have gone out of business a long time ago if they solely relied on Portlanders to pick up the art slack. It seems like everyone here wants to be an artist, but they cannot contribute financially to the community. Timothy spoke about the fact that there's money in Portland, for sure. Yet people are willing to spend money at IKEA on cheap mass-produced art prints and spend an absurd amount of money on gastronomical eats and drinks. The art-mind in Portland is a "slow on the uptake" kind. It doesn't take long to save up for a piece that someone invested so much time and emotion in, it's well worth the micro-fortune. There are not many places to show art of this certain genre and it's a mystery still how blue chip galleries survive here with such costly works of art.
At Together Gallery, most people buy the affordable handsome zines--practically no money is made from those sales. And yet, Together Gallery aims to sell affordable art, ensuring that at least half of the art is under $500 so even starving collectors can afford works at every show. The majority of works featured on a project space on the back walls of the gallery are affordable and 99.9% local.
I asked Timothy about the artists that he seeks out and what he looks for. He is a skilled self-taught businessman that finds reliable, professional artists that he knows will be consistently good. The great thing about Together is that anything goes. The artist Doodles slept in the gallery for a week during his show. In an upcoming show called SCUBA, artists will have free range over the whole gallery. Timothy hopes they cover every square inch of the gallery with art: "We don't have the same rules that other traditional galleries do."
Together Gallery is located at 2916 NE Alberta, Suite A. Gallery hours are Tuesday-Sunday, 12-7pm, or "By appointment of chance." For a complete listing of artists, see the Together Gallery website.
February 26, 2011
Through March 12th, 23 Sandy Gallery is exhibiting "Photo Book Works," features national and international books, selected by Mia Semingson and first shown in Abecedarian Gallery in Denver, that "incorporate photography as a primary image medium." The books range from one-of-a-kind hand-held artist books accented with photographs, to photographs of a large scale outdoor book sculpture ("Book Man" by Stewart Harvey from Burning Man, 2000), to the finely printed and professionally letter-pressed limited edition books of photographs.
Although the "Photo Book Works" offers a variety of pieces showcasing contemporary explorations of the book as an art object unto itself, the worth of this show is in several of the more traditional books which provoke thoughtful contemplation of time, aging and mortality. A number of the stronger pieces featured in this show are by female artists self-reflecting on existential feelings of loss, nostalgia, aging and mortality though image and journey (journey on a road, journey within, journey through time, journey through the book). Among these books is a breadth of experience and perspective.
Mia Semingson's work, made up of snapshots of her every day life with her family during her 40th year, draws the viewer in with colorful and approachable images, and it is easy to sympathize with her self-reflective project about aging and living. Ginger Burrell's "The Heaven Project" communicates through digitally manipulated black and white photographs different descriptions of heaven. Slowly turning the pages of this book, the viewer is inspired by the unique visions of individuals' utopia while being subtly led to questions of one's own views of mortality and the mystery of what happens in the hereafter.
Several other book works also allow us to take a journey along with the artist. Sally Waterman's "The Journey Home" is a "visual diary documenting a repeated journey" of the artist on the train to visit her family outside of London. From afar the small black and white images of the many small accordion books look alike, contrasts, lines and perspectives of industrial England inside and outside the train. But upon close examination, each day becomes its own world with keen observation of fellow passengers and the ever-changing passing landscapes. Time is elapsed and extended; change is apparent but still somehow things are the same. Heather F. Wetzel's photo book explores "nostalgia for childhood memories" during a road trip made up of intentional decisions to repeatedly get lost.
Lauren Hankin's Displaced, her first book, is a careful assemblage of eerie yet romantic richly printed landscape photographs within a beautifully bound and letter-pressed structure (printed by the artist, with letterpress by Inge Bruggeman of Textura Printing and bound by John De Merritt Bookbinding). The images are evocative of the sadness, distortion, transformation, nostalgia and loneliness of the artist as she journeyed by herself into the countryside of Northeastern North America and also into herself as she experienced the loss of a marriage's end. In Part I, the photographs depict a freedom and hope. "My senses were re-awakening. I began to see again- beauty I had been blind to for a long time: clear sparkling rivers, beachfronts dimpled by boulders, shrouded in fog," Hankin comments, and the images are full of a nostalgic bliss, a hopeful commentary. The photographs of Part II carry on a soft and innocent beauty, but also exemplify the artist's transformed emotions and her feeling of suffocating fear. The artist writes, "I believed that the only way I could overcome these fears was by documenting them; by imprisoning what terrified me most onto a small frame of film, and eventually transforming them into beauty." Hankin's photo book expresses the transfiguring and convoluted power that emotions can have on our view of the world, while offering images of timeless and serene beauty.
Images from top: Judith Hoffman, Mia Semingson, Sally Waterman, Lauren Henkin. All images copyright the artists.
February 20, 2011
Representatives from the various organizations will present the types of grants they offer, as well as the best methods to use in writing a proposal. These presentations will be followed by Q & A time and breakout sessions in which participants discuss projects with one another.
Portland's session is on Thursday, March 31st from 11am to 1pm at the Central Library downtown. "Writing Strong Grant Proposals" is free and open to the public, but pre-registration is required. Learn more or sign up.
February 08, 2011
Each entrant receives a bag full of scraps and has one month to fabricate a wearable creation. Garments are then worn by artist-provided models and auctioned off to raise funds for a local nonprofit. This year, proceeds will benefit Sisters of the Road, Out to Pasture Farm Sanctuary and Children's Healing Arts Project (CHAP).
When: Deadline to sign up is February 15th. Bags of fabric will be available for pick up from February 19th through February 26th at Modern Domestic. An image of finished creation, blurb and model name are due April 1st. A dress rehearsal will be April 27th, and the full Fundraiser Fashion Show is scheduled for May 1st, 2011.
Where: This year's Modified Style Fundraiser Fashion Show will be held at Disjecta, in the Kenton neighborhood.
Who: Entrants need only have "a creative urge of desire to learn" how to sew.Enter in either the amateur category (no sewing experience necessary) or as a professional (if you have ever sold a garment). Modified Style requests a $25 contribution from amateurs and a $40 contribution from professionals to cover the costs of the event.
How: E-mail info(at)modifiedstyle(dot)org to sign up to participate.
Image from www.modifiedstyle.org.
February 01, 2011
The premise: each participant in a stock dinner contributes $10 and becomes a dinner guest. Artists or artist group proposals are then presented to the dinner guests and the guests get to vote on which project should receive funding, a la the evening's proceedings. Hence, all the money contributed by the individual diners is then allocated, as a sort of grant, towards an innovative and community-supported artist project. The winning artists must present their completed work at the next stock dinner. (Portland Stock was inspired by the Sunday Soup dinners of the Chicago-based group InCUBATE.)
The next round of artist proposals, in the category of "culture as a component of sustainability," are due by 5pm on February 4th. This time around, Portland STOCK is hosting a special micro-grant dinner, in conjunction with the Dill Pickle Club, at the Visual Culture Symposium 2011, and the dinner is not open to the public. Rather, the dinner will serve to demonstrate a unique micro-granting process and feature Portland-based artists' projects to the national symposium of arts administrators and educators.
Learn how to submit an artist proposal.
January 25, 2011
Portland-based trash fashion organization Junk to Funk asks these questions, and through a combination of performance, contemporary fashion, and sustainability education tries to inspire answers. From catwalk to classroom, Junk to Funk provides audiences young and old new ways of conceptualizing sustainability, reuse and consumption by creating, teaching about and displaying garments and accessories made out of ‘trash.’
Best known for its annual “Recycled Fashion Show Contest,” Junk to Funk has led the city in showcasing the most sustainable fashion around—trashion. The organization has a solid community and political following (Mayor Sam Adams again expressed his appreciation for Junk to Funk’s eye on sustainability at Portland Fashion Week 2010) and regularly features garments by very talented local designers such as Jen Lamastra, Rio Wrenn, and Ruth Waddy (image at left by OnScreen Imaging, design by Ruth Waddy at Pre-Soiled Couture). Junk to Funk designers assemble their wears almost entirely from recycled or reclaimed materials, such as vintage shoulder pads, Oregonian newspaper bags, bicycle tubes and used coffee filters.
Turning away from 4 years of high profile, in-your-face style production, Junk to Funk has recently unveiled new directions in programming. The reconfigured Trashion Collective will integrate trashion into education (at local schools and a summer camp), into business practice (by offering to custom design a garment from a business’s waste), and into the private sector (with opportunities to rent Junk to Funk garments). Junk to Funk’s upcoming 5th anniversary party, called “Transformation,” on February 5th, will both celebrate Junk to Funk’s legacy as Portland’s largest trash fashion show and reveal Junk to Funk’s plan of action for the future. Fourteen new garments from Junk to Funk’s “House of Trashion” will be showcased up close and personal in a gallery installation.
When: Saturday, February 5th, 7-11pm
Where: Boothster, 521 NE Davis St.
If you missed Junk to Funk’s fashion shows in year’s past, there are still opportunities throughout the year to see the garments, at Junk to Funk events such as “Transformation,” nonprofit fundraisers like SCRAP’s Incognito or in installations in places such as the Portland International Airport (see image above right from Junk to Funk). You can also check out photos and video from past shows on Junk to Funk’s website.
January 03, 2011
Heaven's Teas is Portland's very own School of Tea Arts. In addition to tasting sessions (such as tea and chocolate pairings), Heaven's Teas offers tea class sessions with a variety of themes, such as Tea and Ecstatic poetry or Understanding Tea and Chi. In the summer months classes are held in an outdoor tea pavilion. For renewal and inspiration, as well as a rare glimpse into a private collection of Himalayan art, Heaven's Tea is the place to spend an evening.
Visit Heaven's Tea website for the current class schedule or to reserve a private tea session.
Written by Eleanor Williams.
January 02, 2011
Founded in 1998, the IPRC facilitates creative expression, identity and community by providing individual access to tools and resources for creating independently published media and artwork. Membership to the IPRC is affordable and well worth the myriad perks. Members to the IPRC enjoy access to:
- copy machines
- computer workstations with up-to-date software and internet
- a letterpress print shop
Anyone can sign up for a live tour the IPRC, and the zine library is open to the public (once you sign up for a library card). Oh- and I forgot to mention that the Center also has a Yeti Research Center. A must-see for the true Portland experience.