June 28th, 2011 at 01:15 pm
...a kind of reverse excavation, a layering on of sedimentary layers akin to those one might find on beachside sandstone cliffs or on an untidy desk.
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Last update: June 28th, 2011 at 01:15 pm
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arts portland
June 23rd, 2011 at 10:12 pm
The launch of the Conceptual Oregon Performance School, which is totally serious. And free.
June 21st, 2011 at 09:11 am
Field trip to locate Michelle Stuart's earthwork in the Gorge.
June 17th, 2011 at 09:55 am
The most recent night of performance in PWNW's Alembic series, JAZZ, duos, in between and overlapping curated by Seth Nehil moved from the choreographed (beginning with pre-recorded sound and video) to the furthest reaches of the improvisational. And further.
June 16th, 2011 at 07:08 am
Up on a ferry - in the sun - crossing the Puget Sound, but that's not where terms like elated and exhilarated come from. Those terms are here presented as cold, hard reporting on language that I myself used in a bar, while drinking champagne, discussing the strongest performances from Seattle's NW New Works Festival at On t
June 11th, 2011 at 07:44 am
Ken Fandell, Scott Reeder and Tyson Reeder: Chicago
May 26th, 2011 at 02:07 pm
On display until May 28th (this Saturday is the last day to view the show!) at 937 Offsite Gallery, a satellite gallery
May 21st, 2011 at 10:20 am
Friday night, Karen gave a masterful performance of Ouette, an exquisitely crafted solo piece, visually gorgeous and thoroughly intriguing, emotionally captivating, a shot in the arm of audience imagination. The world she created by employing technical kit that anyone reading this could easily manage was astonishi
April 29th, 2011 at 11:18 am
The texture of the halftone dots, the distressed markings of age, the porous quality of some of the sculptural surfaces, the tiny page number in the upper corner of each work that tips us off to the fact that the ground for each collage is the page of a book, these subtleties add up to give each of these a seductive, virtua
April 28th, 2011 at 12:09 pm
Linda K. Johnson walks to know. Walking connects the body and the mind and is at the core of her creative process.
April 22nd, 2011 at 08:27 am
...as if entering the smallest of museums stocked with antiquities of strange and familiar purpose.
April 13th, 2011 at 07:46 am
...By transforming an ordinary mirror into a pool, and by making this the rabbit hole through which we enter the rest of this successful exhibition, Robbins frames it as a lens on our tendency to make mystery of the mundane. ...
April 7th, 2011 at 08:20 am
Although it is technically an exhibition of individual objects, I take “Black Moon” by Chicago arts collective Adds Donna at
March 31st, 2011 at 05:23 pm
...there is some work so strong that I had to return to write about it...
March 29th, 2011 at 06:23 pm
Maria T.D. Inocencio’s exhibition at Gallery Nine entitled, It’s Like This Every Day is a stunningly beautiful contemplation of daily movement and accumulated memories. ...
March 29th, 2011 at 09:04 am
Madonna, Keith Boadwee, Erin Allen, Isaac Gray. No Painting Left Behind at
March 25th, 2011 at 10:17 am
Tonight is a pre-launch party for FRONT, a new Portland journal for contemporary dance driven by dancemakers themselves: Tahni Holt,
March 13th, 2011 at 09:34 pm
... I like how the shiny balloons perform their look-at-me job while the blank signs offer up no reward for that attention. I have nothing to say to you but please pay attention to me anyway.
March 5th, 2011 at 10:07 am
Three Portland choreographers. Three Saturdays at 1 PM. One massive installation by Karl Burkheimer, IN SITE, sets the stage for dance.
March 4th, 2011 at 08:36 am
Head up to FalseFront for Michael Reinsch's opening, then swing back around to 811 E Burnside...
March 3rd, 2011 at 07:40 am
First Thursday highlights with Adds Donna at Half/Dozen, Josh Smith at Manuel Izquierdo at PNCA, and if you haven't seen Here/Now at Elizabeth Leach, you should.
February 16th, 2011 at 10:59 am
You may ask yourself… Here are some questions and thoughts I had in advance of and in response to a roundtable of arts writers on Eva Lake’s Art Focus show on KBOO. You can listen to the conversation here.…
February 13th, 2011 at 08:11 am
"For his 1920 Dada sculpture, 'Nature Morte: Portrait of Cézanne/Portrait of Renoir/Portrait of Rembrandt,' Picabia attached a stuffed monkey to a wooden board and crudely painted the title around it. Painting is old-fashioned and silly, he seemed to be saying. Yet he kept painting." Harry Swartz-Turfle, "Francis
February 7th, 2011 at 10:48 am
by Linda Wysong Free is a fascinating exhibition at the New Museum in New York that looks at digital space as public space and explores how artists are using the virtual town square. It is an expansive group show that brings together a broad cross section of artists and approaches. The point of departure is "Dispe
February 6th, 2011 at 06:25 pm
Anna Von Mertens’s Portraits reflect a desire to research and incorporate modes of knowledge (i.e. the pseudoscience of the aura) into an art historical context in a way that makes canonical knowledge and this pseudoscientific knowledge seem equally absurd and oddly co-dependent. ...
February 4th, 2011 at 07:19 pm
Carlos Gonzalez' compelling performance 4More at Appendix Space last night was about proximity and distance both literally and metaphorically. In four acts, Gonzalez silently drew a capacity audience into (again both literally and metaphorically) a strong performance work that addressed shared experience, the distance(s) be
February 3rd, 2011 at 11:09 am
Detail of, ‘Untitled,’ by Sally England (2010). Cotton rope, electroluminescent wire, 8′x10′
February 1st, 2011 at 10:56 pm
Collect Four Curated by Jesse Hayward Artists:
January 31st, 2011 at 08:00 am
Mind the Gap(s) Look up the word “understand” in Abra Ancliffe's most recent project, “American to Icelandic Dictionary / Íslenska til Bandaríska Orðabók.” You'll find not one but multiple translations with no indication of usage, of nuance, context. Something's going on here. Some words in thi
January 24th, 2011 at 07:35 pm
It's now, now. Now it's now. No, now it's now. Now. Now. By the time I publish this, you will have run out of time to see ART NOW, DURATION IN COMMON, CONTENTS., so you'll just have to take my word for it.