Paul Maziar

Paul Maziar is a writer and small-press editor. His first pamphlet of poems, Little Advantages, was published in 2013, and was followed by three others. His first full-length poetry collection, Opening Night, is forthcoming from BlazeVOX [books]. Paul’s other prose can be read at artcritical, Whitehot Magazine, Los Angeles Review of Books, NewCriticals, and his blog rrealism.com. Some of his poems can be found at the Brooklyn Rail, and Across The Margin.

 

Designing ‘Faust’

In Portland Opera's new production of Gounod's classic, visual artist John Frame relies on collaborators to bring the audience inside the mind of the man who made the original deal with the devil

by PAUL MAZIAR

This June, the new Lyric Opera of Chicago-Portland Opera co-production of Charles Gounod’s Faust, directed by Kevin Newbury, will fill the Keller Auditorium stage for four performances, the production’s West Coast premiere. The visual artist John Frame —whose vignettes, sculptures, score and installations were a distinct hit when exhibited at the Portland Art Museum back in 2012 for his Three Fragments of a Lost Tale show — is the opera’s production designer. For Faust, Frame’s novel approaches to composition and his visionary aesthetic manage to locate the production inside Faust’s mind—and soul.

A scene from Portland Opera’s ‘Faust.’ Photo: Corey Weaver.

Although Gounod’s Faust is familiar, the Lyric Opera version was widely anticipated, in large part because of Frame’s reimaging of it, which includes sculpture, 3D projections, and a live video feed. It’s a production that, however augmented by contemporary technology, presents a world that’s of its own unique timeframe—neither present nor past.

“His art sees the world in a completely different way, reflecting the human condition in a way that’s poignant, dark and funny,” director Newbury told the Chicago Tribune about Frame’s work on the opera. “Our production team is taking his work as our inspiration. Because much of the opera is about Faust’s search for knowledge and truth, we portray him as an artist, searching for truth through his art.”

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Katherine Bradford’s luminous nocturnes

"Magenta Nights" at Adams and Ollman considers atmospheres of air and water and the paint that can create them

“art is the power that causes the night to open.” — Maurice Blanchot, The Gaze of Orpheus

Katherine Bradford is a prolific and imaginative contemporary painter from New York City. Meeting her at the opening reception for her show Magenta Nights at Adams and Ollman gallery (through June 2) was like seeing a friend: Bradford’s social affability is that genuine and infectious. This is in keeping with proprietor Amy Adams, who worked closely with Bradford before the show to select works in her NYC studio. That evening, I got to talk with her a little about her acrylic paintings in that show, and then some more through correspondence. One takeaway from that initial interaction and my first looks at her work was Bradford’s affinity for atmosphere, the play of light and dark that is quintessential to the human experience, abstract and actual.

Katherine Bradford, “Swim at 6:10”, 2018, acrylic on canvas, 24 x 18 inches/Courtesy of Adams and Ollman

In a 2016 interview with Jennifer Samet, Bradford said, “what interests me the most is the language of painting—how people are able to say things using paint.” She then refers to a vernacular forever common to both poets and painters: the sea, the sky and clouds. Having seen two of her exhibitions in person, both at Adams & Ollman, I’ve asked myself, what is it then, that Bradford is saying with her pictures? She’s telling me about revery, buoyancy, fun—all perhaps contingent upon meditation and reflection. And then there’s the mysterious depth of the night that Bradford summons, that and the deep sea, the human mind. It’s all exciting, beyond sense, mystical, and yet utterly clear, approachable.

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Stephen Hayes: A Guggenheim will fuel ‘In the Hour Before’

Local painter Stephen Hayes is awarded the prestigious Guggenheim Fellowship, toward his 'In the Hour Before' project, which deals with violence in America. . .

A few days ago, the John Simon Guggenheim Memorial Foundation named the recipients of its 173 Guggenheim Fellowships in the areas of scholarship, art, and science. Among 24 other painters from around the country who received this year’s honor was the Portland painter Stephen Hayes. Hayes has been working on a project, titled In the Hour Before, to reimagine depictions of spaces, sites, in painting.

In this body of work, now supported by the Guggenheim award, Hayes examines the violent American social context by depicting the sites of shootings—places like Newtown, Charleston, Orlando, Roseburg, and others. This undertaking is for Hayes, a way to respond to the “grotesque reality of an escalating physical and social violence in America,” related specifically to “racial inequity, economic disparity” among other issues—as he described in proposing In the Hour Before to the Guggenheim Foundation.

Thanks to the award, Hayes is set to complete In the Hour Before, “traveling” by way of Google Earth, “to the burgeoning number of sites of shootings throughout the country, and making paintings in response to these places as they were witnessed benignly, without comment or bias, by the impersonal technology of cameras mounted on cars,” as the artist remarked.

Stephen Hayes, “Ferguson, MO 8-9-14,” 2017 oil/canvas 30”x 30”

This content marks ongoing change in Hayes’s work—as he described in his interview with our own Paul Sutinen last year — but his compositions retain a singular approach to discerning, rendering. “Such deft blending of representation and sheer abstraction underpins Hayes’s eminence as a supreme kind of painters’ painter in the Pacific Northwest,” wrote Sue Taylor in Art in America in September of 2016.

Hayes’s handling of paint treads the line between abstraction and representation, and his sense for the conceptual in painting always seems in keeping with his formal subjects. Hayes says that a painting “can pay poetic homage to the lives and places at the heart of each story. In fact, we are ALL at the heart of each of these stories. I believe that real solutions to this will only come from contemplation, reflection, deliberation, and conscious action.”

Hayes was included in More Than a Pretty Face: 150 Years of the Portrait Print at the Portland Art Museum in 2010, and also received the Hallie Ford Fellowship in Visual Arts in 2011. The Guggenheim is a national matter, and past Portland winners have tended to be writers: Paul Collins, Peter Rock, Tom Bissell, Dan O’Brien, among others. Each year since its inaugural year in 1925, some 3,000 applicants vie for the fellowship; Hayes’s award is no small thing to a working artist, teacher, adherent of visual art. The list of 2018 fellows — including Pulitzer Prize-winning writer Tyehimba Jess, writers Teju Cole and Min Jin Lee — can be read in its entirety on the foundation’s website. We caught up with Hayes to hear how news of the Guggenheim award has hit him.

Where were you when you learned of your having won the Guggenheim Fellowship Award?
I got the notification that my project had been forwarded to the Board of Directors for approval by email in the middle of an ordinary working day. I was in the middle of a Color Theory class and while on break I checked my email. I wasn’t sure that I was reading the message in the right way and was a little off balance. I had to forward it to Linda [Linda K. Johnson, Hayes’s partner] for interpretation!

In your interview with Paul Sutinen last year, you talked about your “ability to challenge your thinking or to find context for what it is you’re doing.” Is this award a landmark in your career, relative to your approach, how you’re working and seeing in the context of 2018?
The award would be a landmark for anyone. It recognizes decades of work already made, but more critically it provides spiritual and financial support for unseen work in the future. I am already deeply engaged with the project that I proposed to grow. In the Hour Before is a body of work unlike any other that I have made, and I am continuously looking to understand my relationship to the project, my process and its impact on me every bit as much as on you.

I really love what you had to say (last October) about beauty having very few limitations. How has this outlook changed since then?
I am as surprised as anyone that beauty can exist so seamlessly side by side with horror. It is very confusing. I find myself wondering if we don’t have the ability to see this dichotomy as some kind of a paradoxical safety net; part of our limbic brain that protects us in an almost prehistoric way.

What’s next for you in light of having won this award?
I am deep into the final term of teaching for the year and have plans to be more fully in my studio as soon as possible. In preparation for that day I am gathering information, making stretchers, stretching canvases, gathering materials and trying to share the moment generously with my family and friends. Once in the studio… it’s on.

Flower(s) in Concrete at Fourteen30: Why we write about art

The art most difficult to describe with words and to contextualize by the intellect makes writing about art worthwhile

Recently, I’ve had conversations with writers of other disciplines who’ve questioned the point of writing about art. As an activity in an atmosphere of limited nerves and resources and an overabundance of literature, images, noise, and every reason to seek what’s “fact-based,” it’s not that hard to imagine why some might look askance at this kind of thing. Why not write about ecological ills or politics, human/animal rights, or even celebs for a little entertainment? Otherwise, why not bake some bread (a writer friend of mine likes to suggest that) or whatever.

Why we do what we do is something that ought to be pondered often, or as often as is tolerable. I keep asking myself these questions and, to some relief, I come up with an answer every time I see a show like the group show on view at Fourteen30 Contemporary, Flower(s) in Concrete. The show features works by Léonie Guyer, Wayne Smith, and Lynne Woods Turner and was co-organized by Stephanie Snyder (the director of Reed College’s Cooley Gallery), and Fourteen30’s Jeanine Jablonski.

Installation view of “Flower(s) in Concrete,
art by Léonie Guyer, Wayne Smith, and Lynne Woods Turner/Courtesy of Fourteen30 Contemporary

I write about shows like this because art often has the supreme capacity to change me —my mind, perception, but also my physical state of being. It’s often the subtlest thing —say, the rhythm or sensuousness of shapes in Turner’s work; the repetition of trim lines that evoke great music, in Smith’s; or the symbol you feel you’ve always known but have never seen, can’t place with a single word, in Guyer’s—that has this transformative power. This seems consequential here and now, when complications abound, vex, prohibit.

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