Gnorski Moth

Far from nothing: John Gnorski’s Like a Train in the Sky at Stumptown

Portland artist John Gnorski’s exhibition Like a Train in the Sky at Stumptown Coffee celebrates the Portland artist’s Stumptown Artist Fellowship award. It was curated by May Barruel, the proprietor of Nationale, and features a suite of woodblock prints and tenuously representational

Iterations of vision: Amy Bernstein’s Between the Dog and the Wolf

Between the Dog and the Wolf, an exhibition of six large, colorful paintings by Amy Bernstein, reveals the artist’s attention to the infinite possibilities of color, form, and symbols—plus the keenness to engage this attention in novel ways. Bernstein is the seventh

American Realism in flux: workers, mallards, and handstands

Approaching Modern American Realism: Highlights from the Smithsonian’s Sara Roby Foundation Collection, one might expect to see a bunch of naturalistic renderings of real things in and of the world. Gustave Courbet’s take on the everyday may have been novel and shocking

Designing ‘Faust’

by PAUL MAZIAR This June, the new Lyric Opera of Chicago-Portland Opera co-production of Charles Gounod’s Faust, directed by Kevin Newbury, will fill the Keller Auditorium stage for four performances, the production’s West Coast premiere. The visual artist John Frame —whose vignettes, sculptures, score

Katherine Bradford’s luminous nocturnes

“art is the power that causes the night to open.” — Maurice Blanchot, The Gaze of Orpheus Katherine Bradford is a prolific and imaginative contemporary painter from New York City. Meeting her at the opening reception for her show Magenta Nights at

Stephen Hayes: A Guggenheim will fuel ‘In the Hour Before’

A few days ago, the John Simon Guggenheim Memorial Foundation named the recipients of its 173 Guggenheim Fellowships in the areas of scholarship, art, and science. Among 24 other painters from around the country who received this year’s honor was the Portland

Flower(s) in Concrete at Fourteen30: Why we write about art

Recently, I’ve had conversations with writers of other disciplines who’ve questioned the point of writing about art. As an activity in an atmosphere of limited nerves and resources and an overabundance of literature, images, noise, and every reason to seek what’s “fact-based,”

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