The exhibitions “Dakota Modern: the Art of Oscar Howe” and “Jeffrey Gibson: They Come from Fire” offer interrelated reflections on identity and the historical record. Laurel Reed Pavic reviews.
The Portland art scene has, understandably, changed since the gallery’s opening in 1981. Laurel Reed Pavic sits down with Elizabeth Leach to get her perspective on the last 40 years.
“Michelangelo’s Sistine Chapel: the Exhibition” is currently on view in 28 cities around the globe, including Portland. What’s the draw and rationale?
The artist continues his “Conflux” series with his signature Gansai dots and gilded clouds in this June show at Froelick Gallery.
All of the works in the mini retrospective “Judy Chicago, Turning Inward” now open at the Oregon Jewish Museum and Center for Holocaust Education come from the collections of the Jordan Schnitzer Family Foundation.
The best part of “Frida Kahlo, Diego Rivera, and Mexican Modernism” is in the museum’s Schnitzer Sculpture Court, before you enter the exhibition.
“Private Lives: Home and Family in the Art of the Nabis, Paris 1889-1900” highlights the early careers of four artists.
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
Mark R. Smith and Maria T.D. Inocencio’s exhibition, Loss of Material Evidence, closed on Sunday, December 9th. The works in the show successfully take on one of art’s highest callings: to make visible the unspeakable, here an exploration of grief. The irony
The Portland Art Museum has just announced the hiring of a new curator of Native American Art, Kathleen Ash-Milby. Ash-Milby comes to Portland from New York where she has been an associate curator at the Smithsonian National Museum of the American Indian
Forty years ago, Cheney Cowles bought his first Japanese painting. The work is a charming illustration of a samurai accompanied by a poem by the 19th century nun, Ōtagaki Rengetsu. The samurai charges forth toward the viewer, caught mid-stride. His enthusiasm and
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