My work in CAP Art Auction

 

Join us on Saturday, May 2, 2015, to Celebrate 26 years of Art!

 

 

CAP’s Annual Art Auction is one of the agency’s two major annual fundraisers, the other being AIDS Walk Portland. We depend on the Art Auction not only to fund our work, but to build community in the fight against HIV and to keep awareness of the epidemic alive. This awareness is key to conquering the virus. Last year, 1,500 people attended the Art Auction.

 

One of Portland’s keystone fundraisers, the Art Auction was created by the local arts community in 1989 to raise funds in the fight against HIV/AIDS.

 

http://www.capartauction.org/

 

 

 

Portland Monthly Mag On 503/971 Show

Pacific Northwest College of Art (PNCA) is to open the first juried undergraduate exhibition in its brand new Arlene and Harold Schnitzer Center for Art and Design on Thursday (April 2), but with a twist: For the first time, the college is opening the show to art students from four other Portland colleges and universities.

The exhibition—entitled 503/971 after the two Portland area codes—will feature works not only from PNCA students, but also from students of Reed College, Portland State University, Lewis and Clark College and Oregon College of Art and Craft.

The show aims to illustrate and appreciate the variance in college-level art programs, and to consider PNCA’s position within Portland’s art scene from “a trans-institutional perspective”.

Organized by two PNCA students, Joseph Greer and Joseph McGehee, 503/971 will be juried by three contemporary art curators from Portland: Libby Werbel of the Portland Museum of Modern Art, Kristan Kennedy of the Portland Institute of Contemporary Art and Robert Snowden of Yale Union. 

The Arlene and Harold Schnitzer Center for Art and Design is PNCA’s new home in Portland’s North Park Blocks. The refurbished former post office building houses the 5,000-square-foot New Commons where the exhibition will be presented.

 503/971 opens on April 2 in PNCA’s New Commons, and runs through April 29.

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Juried Inaugural Exhibition at PNCA New Commons

Sunday

PNCA To Host First Regional Juried Undergraduate Exhibition
Featuring work by students from five Portland colleges and universities

503/971
New Commons, PNCA
April 2-29, 2015
Opening Reception: Thursday, April 2 from 6-9pm

Portland, OR—March 3, 2015—Pacific Northwest College of Art (PNCA) presents 503/971, the inaugural juried undergraduate exhibition in its new home, the Arlene and Harold Schnitzer Center for Art and Design. For the first time, PNCA has opened the exhibition to undergraduate art students from colleges and universities throughout Portland including Portland State University, Pacific Northwest College of Art, Lewis and Clark College, Reed College, and Oregon College of Art and Craft. Organized by two students, Joseph McGehee and Joseph Greer, 503/971 is juried by three of the city’s top contemporary curators, Kristan Kennedy (Portland Institute for Contemporary Art), Robert Snowden (Yale Union), Libby Werbel (Portland Museum of Modern Art). 503/971 opens April 2, 2015 in PNCA’s New Commons and runs through April 29, 2015. An opening reception is scheduled for April 2, 6-9pm.

The exhibition poses a trans-institutional perspective as a means of considering PNCA’s position within expanded regional arts and culture networks. Recognizing the diversity of collegiate art programs, this exhibition will act to assemble a collective, media-blind survey of the formal and conceptual investigations within our region. 503/971celebrates the future of PNCA, Portland’s art community, and the potential for collaboration between academic institutions and individuals alike.

The title of the exhibition, 503/971, makes reference to the old and the new, to shared histories and futures, and with a nod to the PNCAbuilding’s history as a federal post office, to networks and communication. And 503/971 celebrates the future of PNCA as a member of Portland’s art community, and the potential for collaboration between academic institutions and individuals alike.

Annual Juried Show of PSU Student work

LITTMAN GALLERY

3rd Annual Juried Exhibition of PSU Student Works 
Artists To Be Announced 
Jurors: Modou Dieng and Elizabeth Spavento 

On view: March 4–24
Reception: Wednesday, March 4, 5–8:00 PM

 

Exhibiting Artists:

Natalie Graff, Aerial Spew

Amrita Khalsa, Impression

Brittany Maddocks, a) Jenga b) Sponges

Andrea Kerr, Untitled

Melissa J. Armstrong, Belle ePop 10

Kyle Lee, Save the Portland airport carpet

Hyunju Kim, Reflection

Jennifer Vaughn, Pressure

Tatyana Ostapenko, Kiev Winter

Michael Hull, Daniel

Abby Moe, Riot

Danny Shapiro, Dollar Bill (edition of 50)

Phil Gregory, Untitled

Conrad Crespin, Untitled (series)

Ryan Gregory, The Color in Pain (series)

Mark Nilson, Obstruction

Edward Ershbock, Suspicious Baggage

A.J. Markow, Untitled

Emily Lewis, With Green and Grey

Daniel Liam Gill, Binah

Shannon Kidd, Depression

Samantha Loren, The Collaborative Curating Style (for large group)

http://littmanwhite.tumblr.com/upcoming

What I Look At

El Greco at PAM

Masterworks | Portland: El Greco
DEC 13, 2014 – APR 5, 2015

The fifth installment of the Museum’s ongoing series Masterworks | Portland commemorates the fourth centenary of the death of El Greco (1541-1614), the brilliant, multicultural genius whose highly personal, conceptual style gave form to the intense spirituality of Spain’s Golden Age. Coinciding with the celebrations of Christmas and Easter, this special installation features the artist’s greatest devotional painting, the magisterial Holy Family with Saint Mary Magdalen, a rarely loaned treasure of the Cleveland Museum of Art.

Painted at the height of El Greco’s powers in the 1590s, The Holy Familyshows the Virgin Mary holding the squirming Christ child on her lap as Joseph offers a bowl of fruit. They are joined by Mary Magdalen, whose sorrowful gaze alludes to the future suffering of the happy child. El Greco’s approach is based on Venetian depictions of the subject set in a landscape, but transformed so that the figures seem to exist out of space and time, floating before a turbulent sky. The visionary quality of the elongated forms, animated by flashing light and vivid color, is tempered by touches of realism, particularly seen in the faces of the virgin and child, in the bowl of fruit, and in the warm domesticity that characterizes the scene. This endows the image with unusual accessibility and appeal.

Born Domenikos Theotokopoulos on the island of Crete, the artist first worked as a painter of icons. Beginning about 1567, he spent a decade in Venice and Rome absorbing the aesthetic principles of the Mannerist style. He made his way to Spain in 1576 and settled in Toledo, where he was free to develop his distinctive art. Today El Greco is celebrated not only by artists, but by the public at large. Do not miss this opportunity to experience his unique genius in one of his greatest works.

Organized by the Portland Art Museum and curated by Dawson W. Carr, Ph.D., The Janet and Richard Geary Curator of European Art.

 

Fuzzy Logic at Nisus Gallery

Featuring Tatyana Ostapenko, Nicolas Norman, Thomas Putman, Chacha Sands and Julie Webb.

August 16 – 31, 2013

Gallery Hours: Friday – Sunday, 12:00 – 5:00 pm and by appointment
Opening Reception: Friday, August 16 from 6:00 – 9:00 pm
Nisus Gallery: 8371 N Interstate, Studio 1, Portland, OR

Nisus Gallery is pleased to present Fuzzy Logic.

“In fuzzy logic, exact reasoning is viewed as a limiting case of approximate reasoning. 
In fuzzy logic, everything is a matter of degree.
Any logical system can be fuzzified.”
          — Fuzzy Sets, Fuzzy Logic, and Fuzzy Systems: Selected Papers by Lotfi A. Zadeh

The works in “Fuzzy Logic” were produced in ten weeks by five artists –Nicholas Norman, Tatyana Ostapenko, Thomas Putman, Chacha Sands, and Julie Webb–each responsible for producing 50 paintings. This idea to produce so much in so little time, essentially a painting per workday, was the main prompt of an advanced painting class, The 50 Works Project,  that had been taught for over twenty-five years by Susan Harlan in the School of Art + Design at Portland State University. Though the class was no longer offered, these five students independently found a willing mentor at PSU, Painting Instructor Tia Factor, to guide them through the process. 

The five artists worked closely together in a classroom studio environment, and although each painting was produced by an individual in his or her own style and voice, the ideas behind the paintings relate directly back to the collective. There is a dialogue between the works; two paintings by two different artists may communicate closer than two by the same person. This blurring of authorship parallels the experience of working in a shared studio space: deadlines, days, times and mediums became just as responsible for the ideas in the paintings as the experiences of the artists. 

The sense of Incompleteness is evident — a subject? — in many of the paintings, and the question “Is it finished?” was asked between the artists repeatedly. A layered brushy section with no apparent representation, or an abruptly contrasting space that was at first overlooked are sometimes the most appealing part of the works. By seeking a balance between underdevelopment and control, they intend to pose unanswerable questions about what makes a painting “good”, but mostly to make something interesting to the painter’s eye. 

There are no absolutes in “Fuzzy Logic.”

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