Art review: “Beyond Van Gogh” at the Oregon Convention Center
November 30, 2021
Immersive Van Gogh exhibits are all the rage in 2021. What do they offer viewers?
Immersive Van Gogh exhibits are all the rage in 2021. What do they offer viewers?
The painter’s show “Carnival of the Animals” features dinosaurs, pigs, butterflies, and a revised outlook.
The virtual-reality extravaganza has bright moments, but is often brought down by … technology.
The virtual reality competition of the Venice International Film Festival will be on view in Portland in September.
Laurel Reed Pavic reviews “Ansel Adams in Our Time” on view at the Portland Art Museum.
The Portland Art Museum has had a European collection since its founding. What does it mean to exhibit European art in Portland in 2021?
After 8 years, Dawson Carr retires as Portland Art Museum’s curator of European art. A look at his impact here.
An arts education nonprofit set out to film demonstrations in grade-school classrooms. Then came the pandemic.
A monument on Mt. Tabor to pioneering editor Harvey Scott was toppled. Is it worth putting back up?
At least 5 sculptures have been pulled down or removed in Portland in recent months. What should we do with them?
Laurel Reed Pavic hits the First Thursday gallery shows and breaks out of the the post-twinkle winter slump.
Longtime patron Arlene Schnitzer makes a major donation to help fund the Rothko Pavilion.
Arvie Smith: 2 Up and 2 Back at Disjecta and ‘The Absence of Myth’ at Upfor Gallery dazzle then invite deeper, darker reflections.
A promising curator makes her mark. Her job disappears. She rolls up her sleeves and makes her mark again.
“This IS Kalapuyan Land” at the newly renamed Five Oaks Museum makes an emphatic case for a reclaimed history.
Hank Willis Thomas’s retrospective asks us to consider the mechanisms that conspired to make race so we can unmake it in the future.
The Portland2019 Biennial at Disjecta offers a survey of socially and politically engaged local art.
Paris 1900: City of Entertainment, which runs at the Portland Art Museum through September 8, is a confection, a pastel-shaded macaron that looks great on display and encourages fantasies of sunny afternoons frequenting chic patisseries and warm evenings spent promenade strolling. The
Appropriately, there is no transition to ease one into the Portland Art Museum’s exhibition the map is not the territory. The viewer is thrown directly into Fernanda D’Agostino’s video installation, Borderline. The central sculpture court of the museum is often used as
The visual arts stories at ArtsWatch this year ranged far and wide and – as usual – didn’t even come close to covering all that went on in the world of Oregon art. While some may see that as a failure, we
