Friderike Heuer

 

Exquisite Gorge 1: Getting started

Maryhill Museum embarks on a mission to create a giant collaborative print depicting 220 miles along the Columbia River. Part 1 in a series.

STORY AND PHOTOGRAPHS BY FRIDERIKE HEUER

I have on previous occasions written on this or that aspect of Maryhill Museum of Art in Washington, which I like to visit as often as I can. An eclectic collection of paintings, fashion, artifacts of some Eastern European aristocracy (Queen Marie of Romania), chess sets, native American basketry, 80 or so works of art by Rodin, displayed in an old manor house with a fascinating history of its founder, beautiful grounds and a sculpture park, high above the Columbia Gorge – it has all drawn me for many a decade. In fact, I remember when they still had peacocks roaming the manicured lawns and discreetly placed signs, warning you of rattlesnake danger, should you step off the paths…

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Art on the Road: Where Tuff meets Tough

Santa Fe, Part 2: Friderike Heuer takes her camera to Georgia O'Keeffe's high desert and rethinks her attitude toward the American legend

EDITOR’S NOTE: In the second of two visual essays from northern New Mexico, photographer and artist Friderike Heuer visits Georgia O’Keefe’s home territory and revises her thinking about the artist. She also responds to O’Keeffe’s views of the land and sky with  images from her own photographic work. In Portland you can learn more about O’Keeffe at noon Tuesday, April 30, when the Oregon Jewish Museum and Center for Holocaust education presents Carolyn Burke discussing her book Foursome: Alfred Stieglitz, Georgia O’Keeffe, Paul Strand, Rebecca Salsbury.

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IT HAS HAPPENED TO ME AGAIN. That’s twice now, in just two years. I’ve had to revise my assessment of an artist once I got to know the history and environment that was essential to her work. The first re-evaluation took place both on an intellectual and an emotional level: where I truly disliked Frida Kahlo before, I came round.

Georgia O’Keeffe, “Gerald’s Tree I,” 1937. Georgia O’Keeffe Museum

Photograph by Friderike Heuer

And now I have to admit something similar is happening for Georgia O’Keeffe. I was never a fan of the endlessly repeated desert skulls or foreshortened flower paintings, imbued with sexual metaphors or gender-specific markers – references, it turns out, mostly peddled by the men in her life in the beginning of her career and appropriated by many a feminist at some later point. O’Keeffe herself rejected these interpretations just as much as being co-opted by the feminist cause. (For a thorough analysis of her relationship to feminism read Linda M. Grasso: Equal under the Sky: Georgia O’Keeffe & Twentieth-Century Feminism University of New Mexico Press, 2017)

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Magic Mountain meets Magic High Desert in Santa Fe

Art on the Road: Friderike Heuer travels the high routes of northern New Mexico with her camera and discovers parallels with Thomas Mann

EDITOR’S NOTE: In the first of two stories from her recent visit to northern New Mexico, Portland photographer and artist Friderike Heuer discovers layers of history, art in abundance, and a cornucopia of vivid images from the streets, museums, and galleries of Santa Fe. The accidental sculpture of walking sticks in the top photo was on display near the Rio Grande Steel Bridge, where a street vendor was selling wares. In addition to the region’s deep history, Heuer found evidence of a futuristic streak: The rest of the photos, except for the book cover, are from “the ultimate Dionysian experience of art meets entertainment at the indescribable Magic Castle known as Meow Wolf.” Coming Monday: Georgia O’Keeffe in the Southwest.

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HANS CASTORP, THE YOUNG, ARTISTICALLY INCLINED protagonist of Thomas Mann’s novel The Magic Mountain, visits his dying cousin in a sanatorium for people with tuberculosis in the Swiss mountains. Infected himself, he ends up staying there for seven years before joining the military for World War I in 1914, expected to meet his doom. As a patient, he might as well have come to Santa Fe, New Mexico. This place also attracted health-seekers at the beginning of the last century, many of whom never left, given that the dry high-desert air was beneficial to people with lung diseases.

Mann’s novel was begun in 1912, published more than a decade later, and by that time completely revised to incorporate the lessons from the Great War. The trek of “lungers,” as they were called, to Santa Fe also saw significant changes. A few TB patients arrived in the early 1900s. Others followed as word of mouth spread. People suffering from the disease from all over the United States were soon actively pursued by local politicians and administrators, who persuaded them to come to the area by the thousands. The first wave consisted of artists and educated, mostly wealthy people – the kind you would have also met at Mann’s Berghof sanatorium. Next came soldiers and veterans, then all sorts of poor people unable to pay for their stay and yet welcomed with open arms and plenty of sanatorium beds. What was going on? Why the pursuit of a population carrying a dreaded disease?

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Comment: Our Bodies Our Doctors

An Oregon-made film about abortion providers premieres at the Portland International Film Festival. Friderike Heuer looks at the issues.

Story and photographs by Friderike Heuer

The Portland International Film Festival, which opens Thursday, March 7, and continues through March 21, has a long (42 years and counting) and honorable tradition of focusing on controversial subjects. This year is no exception. On March 8, International Women’s Day no less, it features the world premiere of Our Bodies Our Doctorsa documentary film by Janice Haaken exploring the experiences of contemporary abortion providers.

The team: Director Jan Haaken front center; from left to right: Katrina Fairlee, Sound Recordist, Timothy Wildgoose, Photography, Caleb Heyman, Co-director of Photography, Samantha Prauss, Assistant Director. Not featured: David Cress, Producer.

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Art on the Road: Au Naturel, Astoria

The Royal Nebeker Art Gallery's evocation of the contemporary nude in international art reveals the human, unadorned

Story and photographs by FRIDERIKE HEUER

We have this thing in our household about language. Well, someone has a thing in our house about my language – more specifically, my usage of the verb to love as applied to something other than a human being. Don’t devalue such a strong emotion, I am told, by wasting it on things, not persons! (That from the same Beloved who still despises split infinitives…)

Jay Senetchko, Sleepwatcher at the End, oil on wallpaper, detail

I can’t help it. Here I go again: I love this state. I love finding out new, beautiful things about it, even after 33 years since our arrival from New York City. You turn around and face surprises, in the natural as often as in the cultural landscape. Case in point was a recent visit to Astoria. I have written here before about this small former fishing and cannery town at the mouth of the Columbia river. I’ve described the increasingly vibrant art community, the diversity of what is on offer, from music to photography, from the perspective of a visitor as well as from that of an exhibiting artist.

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Photo First: Nrityotsava 2019

Ways to preserve: Friderike Heuer takes her camera to Kalakendra's showcase of 11 Indian dance groups and records how they keep traditions

Photo Essay by FRIDERIKE HEUER

Kalabharati School of Dance

I could have kicked myself. Here I am friends with one of the most formidable dance critics around, ArtsWatch’s own Martha Ullman West, and yet it did not occur to me to drag her with me to the dance performance I saw last Saturday. Just as well, though, since no matter how learned a tutorial I’d have gotten, it would have been but a drop in the vast sea of my ignorance about dance.

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Cappella Romana: Straddling Worlds

The superb vocal ensemble's "Christmas in Ukraine" was ancient and modern and a breath of life. Next up: The Lost Treasures of Armenia.

Story and photographs by FRIDERIKE HEUER

Cappella Romana opened its 2018/19 season announcement with the words, “Prepare to be engaged, moved, and inspired.” Consider it done. You could add an occasional “made breathless” by the sheer beauty of the singing. One of the main themes of the glorious vocal ensemble’s Saturday concert Christmas in Ukraine at St. Mary’s Cathedral in Portland was the notion of breath. Breath as the source of life handed down from above, and breath as the source of praise sent back up.

Cappela Romana, in full voice.

Presence and absence of breath was just one of the many dichotomies that came up at St. Mary’s (the program had played the night before in Seattle, and repeats in San Francisco on Jan. 5) while listening to and thinking about this chorus, its guest conductor Marika Kuzma, the music on offer, and the thoughts evoked by any mention of Ukraine these days.

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