In the final of three stories examining the Supreme Court’s decision on Andy Warhol’s use of previous material, David Slader talks with Portland art figures about the myth of the original.
Nothing comes from nothing; a historical look at the art of the “steal”: The court’s Warhol decision and the myth of the original.
The Supreme Court’s Andy Warhol decision and the myth of the original. Part 1: The new law of creation.
With their caricatured grins and exaggerated growls and grimaces, Murton’s works defy the notion that serious art needs to be … well, serious. Get ready to smile.
From clouds to sounds, an artist’s path: “I hear a lot in the paintings … some movement, something that comes after and before and above and below. Like a cropped photograph or a clip from a melody, you know there is more.”
What would happen if we turned grandiosity into a joke? Building big, artist Erik Geschke sculpts himself into the possibilities.
From heavy chunks of wet clay the Portland artist creates sculptures that dazzle on the surface as they dive more deeply into memories, experiences, and conflicting meanings.
The Portland biennial’s point of depARTure: In a world of multiple crises, political art is having its day again.
With his own small gallery in a shed, a show at Elizabeth Leach, and a key role in the Converge 45 biennial, the artist juggles “three ways I get to make magic out of dust.”
Leslie Peterson Sapp’s vivid collage-paintings reflecting the moods of Film Noir echo a long creative history of borrowing and revising in music and art.
At Pacific University’s gallery, an exhibition whispers its materials and speaks to the giving and taking of the land.
In Portland’s Central Eastside Industrial District, a gallery features “graphic, color-drenched work by artists who have neither their fists nor their noses up in the air.”
Hank Willis Thomas’s “The Embrace” in Boston is “a monument to love and joy, the twin wells of courage and perseverance.”
The trauma of invasion has a long history before Putin. Ukraine artists draw on it in remarkable ways, reaching back to the modernist movement of a century ago.
The gallery’s painting and photography show “Inheritance” spotlights agricultural workers in Ghana and Black farmers in America.
Street art abounds on the city’s walls – sometimes sanctioned, sometimes not. Is it time for Portland to join the “Free Walls” movement?
Entering into the abstract: “I found myself wanting to slide through an imagined gap between several layers as if a door was left ajar. ‘Explore,’ it tempted.”
Art from Tumult: Bev Grant’s Photographic Record
of Radicalized New York, at Reed College’s Cooley Art Gallery.
Like Cézanne’s and Wayne Thiebaud’s, Wolf’s sensory paintings seduce the ordinary by upending our assumptions about reality.
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