COAST

Coast calendar: Long-lost drawings and celebrating the nude

A fundraiser auctions a Rick Bartow sketch, the 14th annual "Au Naturel" show opens in Astoria, plus play and author readings, and cranky old men in Cannon Beach

January 23, 2020 // COAST, CULTURE, LANGUAGE ARTS, OREGON //

Newport artist Rick Bartow died nearly four years ago, but his work is the gift that keeps giving, in some cases, surprisingly so. Last year, staff at the Olalla Center, a nonprofit in Toledo that provides mental health care for children, set out to do some spring cleaning. In the process, they discovered seven line drawings by Bartow stashed away and gathering dust.

They’ve set aside one of those drawings to be auctioned off at a Valentine’s Day fundraiser, Sea of Love, at the Oregon Coast Aquarium. The framed drawing will be revealed the evening of the auction.

A Rick Bartow sketch similar to these, found in storage at the Olalla Center, will be auctioned during a Valentine’s Day fundraiser. Bartow created the drawings as part of an Earth Day exercise for children.

“We were literally clearing out a storage room of old games and toys and random items, sort of typical rummage sale items, and we found Rick’s pieces all at once,” said Diane Teem, executive director at the center. “We were so happy to find them. It was like a treasure. Our staff had changed since they were created, and we didn’t realize they existed. I don’t know how they came to be in storage, but we’re super happy we discovered them and can now honor Rick’s memory and contribution to the children of the Olalla Center. Rick was all about the children.”

The pieces, which Bartow called “eco art,” were created in 2010 as an Earth Day classroom exercise Bartow participated in. The drawing to be auctioned is 2.5 feet wide by 2 feet tall, framed in metal and signed. Teem is working to have the artwork appraised.

The other drawings have the children’s names on them, and on the back, a bio and picture of Bartow along with an Earth Day poem and the answers to a classroom assignment.

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Vision 2020: Kristin Shauck

The Clatsop Community College teacher and artist loves Astoria’s grittiness and diverse arts scene, but sees gentrification putting the squeeze on her students

January 18, 2020 // COAST, CULTURE, OREGON, VISION 2020, VISUAL ART //

Kristin Shauck teaches drawing, painting, design, watercolor, and art history at Clatsop Community College, where she also oversees the Royal Nebeker Art Gallery. Originally from Texas, Shauck grew up expecting to pursue a career in music, but while studying at Baylor University, she shifted gears and instead received her bachelor’s degree in fine art.

Early influences include an artist mother, who made sure Shauck always had art supplies available, and a mathematician father, who made history as the first pilot to make a transatlantic flight using ethanol fuel. He followed Charles Lindberg’s original flight.

VISION 2020: TWENTY VIEWS ON OREGON ARTS

“I have always been very proud of my dad,” Shauck said. “He is brilliant and charismatic, and I admire him so much for all he has achieved throughout his lifetime.  I developed passionate love of learning from his example, and particularly of cross-disciplinary learning. He taught me that math and science are connected to everything in life, including visual art and music. ”

Kristin Schauk, shown here with self-portrait, says she cannot imagine being an educator without being an artist, and vice versa. Photo courtesy: Clatsop Community College
Kristin Schauck, shown here with self-portrait, says she cannot imagine being an educator without being an artist, and vice versa. Photo courtesy: Clatsop Community College

After college, Shauck taught in several arts programs before answering an ad for a teacher at Clatsop Community College in 2004.  “I got to Astoria and I fell in love with the community. The campus and the faculty here are amazing.”

What, good or bad, has had the biggest impact on arts and culture in your area in the past few years?

The fact that we have such a vibrant arts community is really attracting people to this area, and that’s a mixed bag. It does kind of price out local artists and locals in terms of living spaces and studio spaces, because we see that kind of gentrification happening. I’ve seen a lot of that since I first came in 2004. What I love about Astoria is it’s never lost its grittiness. It’s not too slick and too cool. Everyone here respects everyone else’s eccentricities. Especially, coming from Texas — it’s not like that. People conform. They don’t accept the individualities of people. People are much more open-minded here.

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Fish, ink, and paper

The most critical element in gyotaku, says instructor Bruce Koike, is getting the eyes right

January 15, 2020 // COAST, CULTURE, FEATURED, OREGON //

As a young man, Bruce Koike thought of himself as a science kind of guy, not one particularly interested in art. So when he happened upon a handful of students creating gyotaku — prints created from fish rubbings — at the Hatfield Marine Science Center, he was surprised to find himself drawn to the art.

Thirty-five years later, Koike is known for his masterful prints, as well as his workshops to teach the craft to others. His next is set for Jan. 25 at the Pacific Maritime Heritage Center in Newport.

Koike encountered the Japanese art form in 1985, the same year he started grad school, which led to his master’s degree in fisheries science from the Hatfield Center. He made his first print that summer.

Bruce Koike’s gyotaku print of lingcod incorporates habitat by adding bullwhip kelp to the image, which appeared on the cover of the May 2016 Fisheries magazine, published by the American Fisheries Society.

“I bought a tube of black paint and went to the hardware store and bought a brush, some paper, and gave it a shot,” Koike said. “I still have that print, and it was of a pile perch. It was good enough to keep it.”

His technique evolved over the years, as the self-taught artist learned through trial and error the tricks to creating a print that could truly be called art. One is to remove standing water, likely to be found in depressions on the fish, and not to use too much or too little paint. Ink is applied to the fish with a brush, then paper is laid on the fish and pressed down to transfer the image.

The critical last step is properly capturing the eyes.

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Remembering the Big Blow

Book author John Dodge will speak in Cannon Beach about the 1962 Columbus Day Storm and its effect on Oregon and its wine and timber industries

January 7, 2020 // COAST, LANGUAGE ARTS, MEDIA, NW, OREGON, YAMHILL //

On Oct. 12, 1962, the strongest windstorm in the recorded history of the West Coast battered the Pacific Northwest, claiming lives, destroying homes and businesses, and decimating farmland and forest — the latter resulting in an unexpected silver lining of sorts. John Dodge was 14 at the time, living in the Olympia area with his family. He would go on to a 40-year, award-winning career in journalism, serving as columnist, editorial page writer, and investigative reporter for The Olympian before retiring in 2015.

John Dodge says many people who attend his talks about the Columbus Day Storm are seeking closure for the event they lived through 58 years ago. Dodge was a teenager living in Olympia when the storm hit in 1962.

In 2018, Oregon State University Press published his book, A Deadly Wind: The 1962 Columbus Day Storm.  Dodge will kick off the Cannon Beach History Center & Museum’s lecture series on Jan. 16 with a presentation about that deadly day.

The free talk will be from 4 to 5 p.m.  Plan to arrive early, as no one will be admitted after 4:15.

We talked with Dodge about his memories and his research. His comments have been edited for length and clarity.

Where were you when the storm hit?

I was at a football game and right before kickoff, a state trooper came out and told everyone to go home — a big storm is coming. Right about then, the lights went out and the winds kicked up. We lived in the woods in a very rural area on property with a lot of Douglas firs. Our fear was our house was really vulnerable and we didn’t think it would be safe there. So our family went to a friend’s house in a suburban development. Then a tree came down. We were lucky not to be in the room where the tree fell. Later, after the storm had passed, Dad and I got in our truck and drove back to the house. Lo and behold, there were trees all over, but nothing hit the house. It was one of those ironies, we went to a house to get safe from the trees only to be struck by a tree.

Among the casualties of the 1962 Columbus Day storm was the Campbell Hall bell tower at the Oregon College of Education (now Western Oregon University) in Monmouth. The iconic photo shot by college student Wes Luchau illustrates the cover of John Dodge’s book, “A Deadly Wind.”

What is notable for you about the storm?

Most notable is that it seems the number of fatalities and injuries could have been much greater. There were a lot of “there but for the grace of God go I” type of experiences. I tallied 63 direct and indirect deaths. Indirect would be folks who died of, say, a heart attack the next day cleaning up debris or someone who fell off their roof trying to attach a TV antenna. Direct deaths — people who died in the storm — are closer to 46. There were 300 serious injuries requiring someone to be hospitalized.

We’re used to some big wind here on the Coast. How big was this?

The highest peak winds were probably at Cape Blanco (four miles north of Port Orford) on the headland. There was a Coast Guard station there. Their wind gauge blew out before the worst of the winds arrived. When it blew out, they had already recorded a 145 mph gust. Most of those at the station thought the winds hit 175 to 185 mph gusts. There were sustained winds of over 110 mph. That would be the equivalent of a Category 3 hurricane. Ground zero of the storm was the Willamette Valley. You’ll find the most harrowing stories coming from Salem, Eugene, Corvallis, and Portland. People succumbed to the wind all the way to Vancouver, B.C.

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Vision 2020: Rachel Barreras-Kleemann

The Newport dance teacher says her goals are small: “To keep kids motivated to dance and to help kids that are lower income have a place they can go”

January 1, 2020 // COAST, CULTURE, DANCE, FAMILY, FEATURED, OREGON, VISION 2020 //

Editor’s note: This story begins a series of twenty interviews in twenty days with arts and cultural figures around Oregon, creating a group portrait of the state of the arts in the state. It looks at where we’ve been, where we are, and what might or should happen culturally in the 2020s.

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Rachel Barreras-Kleemann grew up in Newport and began studying dance at the age of 11. After moving to  Portland for college, she grew interested in African-American and Afro-Brazilian dance, and signed on with the marching samba ensemble Lions of Batucada. She later moved to Brazil, where she pursued a technical degree in dance.

VISION 2020: TWENTY VIEWS ON OREGON ARTS

Barreras-Kleemann, who is of Mexican and Native American descent, left the South American country after being mugged numerous times and realizing she had become frightened of the children who roved in gangs. “I thought, I want to be able to go home and help the kids I see, not fear them,” Barreras-Kleemann said. The mother of a baby girl, Barreras-Kleemann teaches dance to children and adults, many of whom are minorities and of low income.

Rachel Barreras-Kleemann says she wants to bring joy and encouragement to people who are fearful of doing arts. “People are tentative about celebrating themselves and about feeling good… I want to remind people it is good to feel joy and it’s still OK to be happy, even in these times that we’re living in.”
Rachel Barreras-Kleemann says she wants to bring joy and encouragement to people who are fearful of doing arts. “People are tentative about celebrating themselves and about feeling good… I want to remind people it is good to feel joy and it’s still OK to be happy, even in these times that we’re living in.”

What, good or bad, has had the biggest impact on arts and culture in your area in the past few years?

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Coast calendar: Here’s to an arty new year

Art exhibits and author readings are among events getting 2020 off to an inspiring start

December 31, 2019 // COAST, LANGUAGE ARTS, OREGON //

The first Saturday of 2020 starts with several events in Lincoln County, including two openings at the Newport Visual Arts Center. At 2 p.m., the Oregon Coast Council for the Arts hosts a First Saturday opening reception for the 11 artists chosen from the recent 2019 PushPin Show for the 2020 Mayors’ Show. There’ll be comments at 3 p.m. and the opportunity to schmooze until 5 p.m.

Winning artists include Linda Aguirre (miniature dioramas), Haley Dean (watercolor still lifes), Denise DeMarie (fiber wall sculptures), Graece Gabriel (photography), Sallie Inman (acrylic on wood panels), Susan Jones (woven reed sculptures), Herb Kateley (photography), Bill Posner (photography), Ben Soeby (mixed media on wood), Emy Syrop (gouache and acrylic on paper and canvas), and Jeff Syrop (watercolor and gouache on paper).

Art by Ben Soeby is among the work included in the Mayors’ Show opening Saturday in the Newport Visual Arts Center.

“Being selected for the Mayors’ Show highlights the VAC’s ability to inspire artists,” Jeff Syrop said in a press release. “The inclusiveness of the PushPin Show really jumpstarts artists’ creativity and the Mayors’ Show is an extension of that energy. It’s definitely an honor to be included.”

The Mayors’ Show was started in 2016 by former Newport Mayor — and painter — Sandra Roumagoux and the Oregon Council for the Arts to give more exposure to PushPin Show artists and to build connections between the arts community and city employees and elected officials.

“I happened upon the Mayors’ Show last winter and considered the possibility of being selected for a future year,” participating artist Susan Jones said in a press release. “That singular thought strengthened my commitment to art and inspired the choices I made while weaving my sculptures over the past year. I am excited and encouraged to be honored in this way by my community. We are fortunate to have this kind of support.”

The show will be up in the Runyan Gallery through Jan. 26.

Seal Rock artist Helen Nighthawk’s work in on display in the Upstairs Gallery of the Newport Visual Arts Center.

Also at the center, an exhibit by Seal Rock Artist Helen Nighthawk opens Saturday in the Upstairs Gallery with a public reception from 2 to 5 p.m.

Turning features acrylic and ink paintings on paper and plywood, and wood sculptures. A visual artist and poet, Nighthawk has been painting for more than 50 years. She has been involved with the Nye Beach Banner Project and been a featured artist at libraries around the county. She also worked as a scenic artist for films, television shows, and public and private productions throughout Seattle. Her credits include collaborating with directors David Lynch and Robert Altman. Her show will be on display through Feb. 1.  

AT THE SITKA CENTER FOR ART and Ecology, Saturday is the Resident Show & Tell. Visual artists Lanny DeVuono and Genevieve Robertson and writers-in-residence Maxim Loskutoff and Lydia Conklin will present what they’ve been working on since their arrival in October. Doors open at 12:30 p.m, with presentations starting at 1 p.m. in the Boyden Studio. The event is free and open to the public.

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A writer’s journey

In which our coast correspondent learns that the secret to publishing a novel is to never, never, never give up

December 24, 2019 // COAST, CULTURE, LANGUAGE ARTS, OREGON //

Next fall will mark 20 years since we moved to the Oregon Coast. The years were some of the hardest of my life, but also the most gratifying. We came to the coast because we loved it. We’d discovered it while living in a small town in Southern Oregon that we abandoned nearly every weekend to camp by the beach. And even though we eventually moved on to Colorado, it was here that we wanted to one day land.

When the hubs got a job offer here, I didn’t see how we could say no. I was pretty sure a similar offer wouldn’t come anytime soon. But faced with leaving my job at the Rocky Mountain News, leaving my Denver friends, leaving all that a thriving city offers, this rugged landscape on the Pacific no longer seemed so enticing. Still, I believed if I wanted to focus on the writing that was important to me — fiction, creative nonfiction — I needed to go someplace where I could be quiet. I needed to take myself out of the race. As it turned out, I actually really liked that race.

Lori Tobias (right) is joined by Denver writer Sherry Spitsnaugle at the Tattered Cover bookstore in Denver. Tobias’s novel, “Wander,” won the 2017 Nancy Pearl Book Award for literary fiction.

Nonetheless, here I was. Every morning, I’d rise at 5 and go to the office to write. But the words didn’t come. It seemed everything I’d learned in many writing workshops and classes had evaporated, simply disappeared from my brain. I hadn’t a clue what I was doing. Still, whether the words came or not, the rule I’d made for myself was that I had to spend time in the chair.  

A little more than a year after moving to the coast, my brave new venture seemed doomed. Despite clinging to every bit of pithy advice and encouragement — including a ceramic piece from a friend that paraphrased Churchill: “Never, never, never give up” — I seemed to be getting nowhere. Reluctantly, I decided I wasn’t meant to write fiction. It was time to give up. I made the decision with a mix of sorrow and relief. It had been my dream from a very young age. But now at least I could move on, focus on the career I was building as a travel writer.

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