VizArts Monthly: December edition, signs and whispers

The arts exhibitions in Portland are full of wonders and portents, never before seen in these parts.

We have reached the threshold of the December First Thursday/First Friday matrix of arts openings. You may enter, restoreth your sanity and perhaps purchase an item or two or three for special people on your holiday list. Or you can return to the soulless clicking of online shopping! For my money (what little there is of it), I’d prefer to give those special people arts experiences (tickets, memberships, actual art, music) or the means to make them themselves (paints, instruments, dance class) than participate in the random circulation of consumer goods I know are close to obsolescence even as I fork over the cash. And that’s just a small part of the problem with them—though I’m in danger of arguing myself out of the ho-ho-ho spirit if I dive into this particular rabbit hole.

Anyway, I’m better off bundling up and hitting the galleries. Below, a few of the gallery openings that caught my eye, then a list of shows at a few institutions that you might want to see before they come tumbling down, and finally some ArtsWatch stories in the visual arts realm that are worth some attention, at least in my book and I hope in yours.

Upfor Gallery: Michelle Grabner curated last year’s Oregon Biennial at Disjecta, and she’s also an artist, deeply involved in using domestic fabrics as source materials. Anne Crumpacker also uses traditional materials and traditions, in this case bamboo and the Japanese art and crafts tradition. Does freedom await us inside the “empty” areas of those patterns and designs?

Blackfish Gallery: Ellen Goldschmidt’s new paintings explore the past, via family photo albums. “These pictures ponder the inner life of a child sensitive to her perilous environment and the lingering echoes of emotional trauma experienced in the shadows. It’s not the whole story, but it is my attempt to create, in the language of paint, a partial memoir of my emotional life.”

Ellen Goldschmidt, “Essential Male”, acrylic on board in birch frame, 23.5 x 23.5″/Blackfish Gallery

Froelick Gallery: Speaking of memories and images of the past, Micah Hearn turns to his Southern roots in his first solo show at Froelick Gallery.

Micah Hearn, “Mantle and Sink”, acrylic, oil stick on canvas /Photo Mario Gallucci

Charles A. Hartman Fine Art: For the past year, Rachel Davis has been keeping a visual notebook, a “Book of Days,” to record her responses to the tumult around us—political and environmental. She writes, “…this new US political landscape and its ripple effect around the world required its own visual language. With how rapidly events have changed from day to day, it necessitated working on something small to respond to with immediacy. The equivalent of a painted tweet.”

Rachel Davis, “May 1”, Watercolor on paper,
5″ x 5″

*****

Somehow Wayne Coyne’s King’s Mouth has the perverse effect of showing us how capitalism ends—inside a big, shiny installation with a foam tongue to lounge on as a light show synchronized to Flaming Lips songs fills the cavity around you. Or maybe that’s just me. Coyne is the frontman for the rock band Flaming Lips, but he’s also followed other artistic pursuits. This installation, which also includes Coyne drawings completed on the road, continues at PNCA’s Center for Contemporary Art & Culture through January 6 in the 511 Gallery. PNCA’s public art spaces will be filled with lots of other cool stuff this month, too.

Wayne Coyne’s “King’s Mouth” is at PNCA, for your edification/Courtesy of PNCA

Is Cloud of Petals an invitation into a “safe” future, where roses are stripped of their thorns? Is it a warning? Or is it a strange environment that you make sense of in your own way? Maybe it depends on your mood. The second exhibition by Disjecta’s curator-in-Residence Julia Greenway is an installation by Sarah Meyohas, and we’ll let them explain:

“…the artist organized a crew of 16 men to pluck the petals off 10,000 roses. These performers selected and photographed each petal according to the artist’s stringent guidelines. The images were then uploaded to a cloud server, where they became “inputs for an artificial neural network”, an algorithm that builds, connects, and intertwines to create a system that is self-learning, rather than programmed.

Upon entering the exhibition, the viewer is lead into Disjecta’s darkened and cavernous gallery space. Headsets are suspended from the ceiling, displaying the virtual environments created from Meyohas’s network of petals. Also on view is Meyohas’s 30-minute highly saturated 16mm film, documenting and contextualizing the scope of the artist’s unique process at Bell Labs.”

The exhibition continues through January 13.

Cloud of Petals Teaser from Sarah Meyohas on Vimeo.

This is the last weekend to see Bill Will: Fun House at Lewis & Clark College’s Ronna and Eric Hoffman Gallery of Contemporary Art. Maybe think of it as a very large, 3-D, experiential political cartoon aimed directly at our times. “In the context of state terror and mystification, clinging to the primacy of the concept of truth can be a powerful and necessary form of resistance,” Michael Hardt and Antonio Negri argue in their analysis of the post-modern condition, Empire. Laurel Pavic reviewed Will’s show for ArtsWatch.

Bill Will, “Bloat”/Photo by Robert M. Reynolds

The show closes on December 10.

Ai Weiwei’s Circle of Animals/Zodiac Heads is back in the state of Oregon—it last showed here in 2015, and I happened to rub a few words together about it, including these:

“So, a consideration of Ai Weiwei is going to be messy, a mixture of art, history, politics, and cold, hard cash. He’s responsible directly for some of the confusion—I’d even say it’s part of the point of what he does. But a lot of it is indirect, the world’s interpretation of Ai, how it deals with the freedom of artists (and other citizens) and entangles them in its self-defense mechanisms.”

The installation continues at the Jordan Schnitzer Museum of Art on the campus of the University of Oregon through June 24, 2018.

Ai Weiwei, Circle of Animals/Zodiac Heads: Gold, 2010, Bronze with gold patina, Dimensions variable. Private Collection. Images courtesy of Ai Weiwei.

*****

 

Recent ArtsWatch stories with a visual arts bent that you might want to consider?

What is the artistic gaze? How is it shared? Artist friends Friderike Heuer and Henk Pander go eye to eye in the studio—he with his paintbrush, she with her camera—and produce a deep double portrait. Heuer tells the story in words and photos.

Hannah Krafcik reports on the extraordinary artists at Field of View, a program of Public Annex that places developmentally disabled artists in artist residencies in the Portland area. The story of how Public Annex came to be winds around the complex history of the State of Oregon’s treatment of this particular community.

Paul Sutinen continues his series of interviews with prominent Portland artists, this time talking with Lucinda Parker.

Sutinen: I think that Frank Stella said something to the effect that you learn more from your fellow students than from the instructor.

Parker: You learn a lot from what they do. There’s no question about it, that you learn a tremendous amount by watching people make stuff—and it’s the making of it, the stroke-by-stroke, the changing of it—that’s why you have to be in a studio. If you go by yourself to your own studio and think you’re going to learn art, the echoing chamber of your isolation make it hard for you.

What Mel Katz says is true: it takes 10 years to learn how to use a studio.

You have to learn how to get in a groove, to provide your own criticism of yourself, you have to learn how to appreciate what you’re doing, and you have to learn how to look over your shoulder and it out front at the same time.

That’s all we have time for today, I’m afraid. But the comments section is open for your suggestions for upcoming or ongoing arts events. Don’t be shy!

2 Responses. Have your say.

  1. Lee Musgrave says:

    Thanks for the thoughtful updates . . . enjoyed them all.

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