Celebrating our 10th Alembic Resident Artist cohort, in residence since June 2023, Performance Works NorthWest presents dance and performance by JmeJames Antonick + Patsy Morris, Katherine Longstreth, and Emma Lutz-HIggins.
Each March The Sou’wester is given over to 30+ artists and art collectives for a week of residency work culminating in a free, public exhibition of 30+ performances, installations, and studio tours.
Courtesy of Artist Sandy Rodriguez
This symposium will bring together panels of local community leaders for discussions on the history of police violence and racist policing in Portland, ongoing attempts to hold police accountable and reform policing practices, and burgeoning efforts to radically reimagine public safety in our communities. Keynote Address: Alex Vitale, Professor of Sociology, Brooklyn College, CUNY
Courtesy of Artist Sandy Rodriguez
Reimagining Safety (2023): Thursday, March 7, 7:00 p.m.
Short: Is Portland Dying? (2024)
Q&A with directors Matthew Solomon and Cory Elia, moderated by Alex Vitale
Arresting Power: Resisting Police Violence in Portland, Oregon (2015): Thursday, March 21, 7:00 p.m.
Short: State of Oregon (2017)
Alien Boy: The Life and Death of James Chasse (2013):
Thursday, April 4, 7:00 p.m.
Short: Just a Dog (2016)
Do Not Resist (2016): Thursday, April 18, 7:00 p.m.
Shorts: Conditioned Response (2017)
Workshop:
Artist Power and Practices: Saturday, March 23, 4:00 – 8:00 p.m. Hosted by Don’t Shoot Portland and M. Martinez Photo, Artist Power and Practices, brings together five different creators to facilitate a community conversation around the power artists hold and examine the ethics around creating. The event invites visual storytellers to discuss ethical practices while collaborating and connecting with other Portland creatives.
This exhibition includes a selection of work that has never been exhibited and spans the artist’s impressive career, from 1990 to 2020.
Two new bodies of work were created meticulously with colored pencils on black paper. One series references the cosmos while the other is sourced from the digital world. Both speak to how these abstract realms are tangibly present in our everyday lives.
Employing her skills of combining color and mark-making, Hunter | depicts an emotionally charged response to the Pacific Northwest. Under surfaces that are heavily worked, there is a narrative that evokes human connection.
Work by past and current gallery staff. Many employees working in the arts are artists themselves. This exhibition spotlights PDX staff's talent, vision, and creativity—presenting the work that is made when our work at the gallery is done for the day.
Highlights the curious capacity domestic spaces have for holding the echoes of lives lived, depicted through sculptural expanded paintings with archetypal images of life cycles and renewal.
Sound and video installation illustrating narratives of an ancient past while hinting at future ways of being–a retelling championing hybridity and connectivity.
Marking a shift from abstraction to representational depiction, Ivy-Royal’s new paintings function as daily documentation, and spaces for (and of) reflection. They are visual accounts of the poetry within random, mundane, and overlooked moments - holding them as sacred.
New works on paper and large-scale installations centered on Avantika Bawa’s queries into the intersections between drawing and sculpture, minimalist traditions, and affects of space, place, and site.
A large-scale, site-specific sculptural landscape that delves into the concept of the pile as a metaphor for family.
Mending consists of two series of paintings, in which domestic spaces and “landscapes” are painted in vibrant colors and naive rendering. Throughout the work color is a driving force that claims its own confidence, allowing the otherwise hidden mundanity to perform.
New paintings and framed prints on paper, original paintings, canvas giclee reproductions, and cards on sale during First Friday in the Williams/Vancouver District.
The School of Art + Design and the College of the Arts celebrate the eleventh year of the Arlene Schnitzer Visual Arts Prize at Portland State University. The 2023 award winners include: Ashley Yang-Thompson (MFA candidate in Studio Practice), Ash Kukuzke (BFA candidate in Graphic Design), and Mohabbat Khatibnia-Mansouri (BFA in Art Practice, ‘23).
Alfredo Jaar
06.01.2020 18.39, 2022
Mixed Media Installation
Overall dimension variable
Courtesy Galerie Lelong & Co., New York and Paris and the artist, New York
Portland Institute for Contemporary Art (PICA) presents Policing Justice, an exhibition and related programming with local, national, and international artists.
Opening Reception: Friday, February 23, 2024 / 4:00 – 8:00 p.m. Exhibition Dates: February 23 – May 19, 2024
Symposium: March 9, 2024
Price: Exhibition, Free / Workshops & Performances, free or sliding scale
Website: pica.org/events/policingjustice
Portland, OR - Portland Institute for Contemporary Art (PICA) announces a major forthcoming exhibition Policing Justice. Guest curated by Nina Amstutz, Associate Professor of the History of Art and Architecture at the University of Oregon, and Cleo Davis, local social construct artist, designer, educator, historian, and community leader, this exhibition examines policing practices in Portland, Oregon, and their relationship to longer local and national histories of oppression through the lens of artists who call Portland their home and those who have witnessed and documented police brutality across the globe.
The extended George Floyd protests in 2020, which lasted longer in Portland than in any other city in America and were met with over 6000+ documented instances of police use of force, serve as a point of departure to explore Portland’s history of policing in relation to racial, environmental, spatial, and juvenile justice.
Local artists and activist groups reflect on these situated histories through a series of commissioned installations, including work by Don’t Shoot Portland, Master Artist Michael Bernard Stevenson Jr. in collaboration with Blue, and Cleo Davis and Kayin Talton Davis in collaboration with Robert Clarke and Kimberly Moreland. Complementing these regional collaborations, a selection of works on loan by Alfredo Jaar, Sandy Rodriguez, and Carrie Mae Weems will situate what happened in Portland in a national context. Policing Justice will also showcase a three-part video installation by the British research and arts organization Forensic Architecture, which includes a recent investigation into the Portland Police Bureau’s use of tear gas against protesters in 2020 and its environmental and health impacts. The exhibition will be accompanied by an active programming schedule, including a symposium, film series, workshops, and panel discussions, which center on locally impacted communities.
PICA thanks the American Art Dealers Association and the University of Oregon, College of Design’s Tinker Hatfield Award for Innovation for supporting this exhibition.
Artists
Alfredo Jaar, Blue, Carrie Mae Weems, Cleo Davis, Don’t Shoot Portland, Forensic Architecture, Kayin Talton Davis, Kimberly Moreland, Master Artist Michael Bernard Stevenson Jr., Robert Clarke, Sandy Rodriguez
Curators: Nina Amstutz and Cleo Davis
Consulting Curator/Producer: Kristan Kennedy
Exhibition Design: Erté deGarces
Curatorial/Production Assistant: Liz “L” Quezada
In collaboration with the Watershed Print Center at PNCA is proud to present Social Production: Selections from the Watershed Print Archive, displaying print publications from 2010 to 2023.
Nagai and Wyatt's work features highly textured, abstracted landscapes where temporal forms come into and out of view, like the shape-shifting of clouds in the sky or seeing a rabbit on the moon. Both artists engage in meditative or trance-like processes of repetitive mark-making.
The exhibition title “Las Vegas Ikebana,” is derived from a concept that the artists developed in the late ’80s that drew from Hassinger’s experience working in a flower shop in Los Angeles and Nengudi’s exploration of Japanese aesthetic forms. The phrase “Las Vegas Ikebana,” was privately exchanged between Hassinger and Nengudi to describe and catalyze many of their creative expressions for years to come.
Interwoven layers of dance, music, and spectacular dome film tell vivid stories
of longing and belonging in the modern world.
4 shows: Wed, Feb 14 | 7:30PM; Thurs, Feb 15 | 7:30PM; Sun, Feb 18 | 6:30PM & 8:00PM
Performed in the Kendall Planetarium at the Oregon Museum of Science and Industry (OMSI)
1945 SE Water Ave Suite 200, Portland, OR 97214
ProLab Dance invites you on an imaginative journey through different states of being human. Set inside of Kendall Planetarium’s 52 foot tall dome, this cross-disciplinary collaboration is a dynamic fusion of art, science, industry and emerging technologies. From working together to build something bigger than ourselves down to the microscopic elements that come together to make us who we are, when we were Ocean plunges the audience into luscious 360 degree
films that expand what we can and can’t see in the living world around us. The planetarium will come alive with live dancers and musicians performing with the dome films, creating a truly immersive and multi-sensory evening of art, beauty, and community. Directed by Laura Cannon with dance by ProLab Dance, music by Jennifer Wright, Lynne Piper, and Chopper, and dome films by Fernanda D’Agostino and Hungry Mantis.
Portland audiences lucky enough to catch a ticket to “Break to Build”, ProLab Dance’s highly acclaimed, sold-out dance/music/film performance takeover of the Zidell Shipyards in July 2023, will know that the unexpected is always what’s on the menu with ProLab. Blending experimental approaches to movement and sound with storytelling that overflows with surprise and delight, when we were Ocean envelops the audience in an intimate, wondrous environment with artists woven throughout the space, making magic just an arm’s length away. A handful of adventurous audience members will even get to experience a live, mobile VR encounter as part of the performance!
Dates & Times: Wed, Feb 14 | 7:30PM; Thurs, Feb 15 | 7:30PM; Sun, Feb 18 | 6:30PM & 8:00PM
Doors open 15 minutes prior to the show.
Tickets: VIP Front Row Seating $100; $40 Adults, $37 Seniors, $35 Youth; OMSI members receive 15% off
more info:
https://prolabdance.com/when-we-were-ocean
Download images here:
https://www.dropbox.com/scl/fo/xvzrwbf9q81btoksoeegk/h?rlkey=0kb53ib9gsqvdnepkqvhjb3iy&dl=0
A talk with author and artist Akwaeke Emezi, multidisciplinary artist and writer whose work—rooted in Black spirit, embodiment, legacy, and memory—spans multiple genres, experiences, and geographies. Akwaeke has garnered overwhelming critical acclaim and instant New York Times bestseller status.
Playful, nostalgic, and also bittersweet paintings of everyday ephemeral happenings using a saturated, complementary color palette.
Wood’s work often employs densely packed lines and overlaying patterns that evoke a sense of vibration within an abstracted image field.
Her new work references species loneliness, while also recounting glimpses of interaction and connection with both the animate and inanimate.
A celebration of creativity, community, and the magic of light. Don't miss the opportunity to explore with us in a world that truly "Glowing Under Pressure," exploring the mysteries of the deep sea and be inspired by bioluminescent wonders.
Present vibrant and textured abstract paintings and sculptures.
after / time collective gallery is pleased to announce its next exhibition: ABOLITIONIST Art Show in collaboration with Defense Fund PDX. This group show will exhibit 47 artists currently or formerly incarcerated in the Oregon State prison system with over 200 artworks made by hand. In an artworld driven by the imperatives of spectacle and of Capital, this exhibition maintains that artists can and do make art regardless of the systems of control and biopolitics that seek to determine their respective identities and destinies. As a clarion call for justice for all the incarcerated and for an end to the prison-industrial complex that goes hand-in-hand with systemic racism and classism - underwritten by self-dealing legal policy and by hedge funds - this exhibition provides a public forum for their respective voices to be heard. The Abolitionist Art Show is a collection of over 200 pieces by artists who are currently or formerly incarcerated. For many of the artists, this work is both a creative outlet and a way of connecting with others. Our primary goal for this show is to pay artists for their work. Proceeds go directly back to the artists and allow those still in custody to buy commissary items and have funds to communicate with people outside.
Defense Fund PDX is a Portland-based non profit that believes in total abolition, which means nobody should be behind bars, but for now we hope to get our artists some funds to make their lives in custody or post-custody a little easier. All artworks will be for sale, and all proceeds from sales will go to provide for their commissary and for their future. This offers all the opportunity to support these incredibly gifted artists in their practices, their commissary and for their futures. Opening Reception: Thursday, February 1, 2024 Public Programming dates and times to be announced shortly. (This exhibition was made possible through the generous support of RACC and Prosper Portland)
Hours: Tuesday-Sunday 11-5 pm
In his current series, Beginner Nudes, Chris Lael Larson transforms discarded student figure paintings into immersive installations, still-life photographs, and paintings that continue the original creative idea of painting — moving an abandoned impulse forward in time and giving it new life, meaning, and value. In this series, he reclaims and interprets the paintings and combines them with large-scale photographic prints, paint, fabric, natural elements, and hand-built wooden shapes that expand the paintings' narrative and context. Next, Chris constructs an in-studio installation from the elements that is finally photographed. The final presentation of the work integrates both the built installations as well as the photos and paintings created in the process to illuminate the evolution of the image through a range of perspectives.
Rudko uses found photographs collected from shops or acquired from friends and family, sometimes mixing them with his own photographs and drawings, to create photo collages and sculptures. Through chance, intuition, and resourcefulness these bits of found images come together to build intricate collages— forming networks of color, mind maps, and scattered memories.
