Christine Bourdette

Festivals, awards, a college dies

News & notes: an arts festival in Wilsonville, the PAMTA musical theater awards, Marylhurst's loss to the arts, PassinArt goes deep east side

It’s not quite summer, but it’s festival season – and Wilsonville, just a short skip south of Portland on the freeway, is leading the charge. Coming up Saturday and Sunday, June 2-3, is this year’s Wilsonville Festival of Arts, which will spread out over the city’s Town Center Park with contemporary music, dance, visual art, theater, literary events, film, design, and performance art.

Master maskmaker and director Tony Feummeler will lead maskmaking events at the Wilsonville Festival of Arts.

“This year, we are introducing three commissioned interactive art installations by artists Damien Gilley, Palmarin Merges and Tiana Husted,” festival director Sarah Wolfe noted in a press release. “Also new is a partnership with NW Film Center in Portland. We are teaming up to offer a Micro Movie Theatre, featuring short films by filmmakers throughout the Pacific Northwest. And we will be featuring several Oregon Book Award winners and finalists as special guests for our focus on literary arts, Art of the Word. Latinx and alter-abled contemporary artists will also be highlighted.”

Singer Saeeda Wright

The lineup looks ambitious and intriguing, with attractions ranging from a reading by this year’s Ken Kesey Award fiction winner Omar El Akkad (American War); to demonstrations in skills from etching to 3D printing to weaving and spinning; to performances by R&B star Saeeda Wright and the innovative troupe DanceAbility. And of course, there’ll also be artists’ and crafters’ booths, ice cream and other food stands, and beer: It wouldn’t be a festival without ’em. Festival entry is free; hours are 10 a.m.-6 p.m. Saturday and 10 a.m.-5 p.m. Sunday.

Black with colored amoeba-shaped pieces from artist Palmerin Merges’ installion art in Wilsonville.

The granddaddy of ’em all, the Portland Rose Festival, is working up a head of steam, too. The city’s annual extravaganza kicked off Friday, May 25, with a Memorial Day weekend CityFair on the riverfront (much more to come, from elephant ears to open-air concerts, in Tom McCall Waterfront Park), and the big event, the Grand Floral Parade, is June 9. After that, dig out your maps and fill in your calendars: you can pretty much hop from festival to festival around Oregon all summer long.

 


 

 

AND IF FESTIVAL SEASON IS HERE, CAN AWARDS SEASON BE FAR BEHIND? Portland’s double whammy of theater award celebrations kicks off Monday, June 4, at 7 p.m. in the Winningstad Theatre with the annual PAMTA musical-theater awards. Started and produced by Broadway/Portland producer/actor/director Corey Brunish, who’s picked up more Tony producing honors in recent years than he can count on all his fingers, it’s always a fun, well-produced event. Actor Darius Pierce, who’s just about perfect in the role, returns as the evening’s host.

A few of the musical-theater productions that have been under consideration for this year’s PAMTA Awards.

Awards will be presented in 21 categories, and as befits the musical theater, which thrives as much on revivals as new work, the best show category has been divided into two parts. This year’s nominees for outstanding revival are Broadway Rose’s The Addams Family, Gypsy, and Always, Patsy Cline; Pixie Dust’s Billy Elliot and Beauty and the Beast; and Triangle’s Avenue Q. Nominees for outstanding original show are Portland Playhouse’s Scarlet, Northwest Children’s Theatre’s Cinderella and Peter Pan, Stumptown Stages’ Folk City, Broadway Rose’s Trails, and Staged!’s John Hughes High. See the complete list of nominees here.

The older and more inclusive Drammy Awards will celebrate their 40th anniversary at 7 p.m. Monday, June 25, at Portland Center Stage – an interesting choice for venue considering that last year the city’s two biggest theater companies, Center Stage and Artists Rep, dropped their participation in the awards. Both awards events are free.

 


 

BUT WHAT ABOUT MARYLHURST? The recent announcement that Marylhurst University, the small institution south of Lake Oswego, will close its doors after 125 years sent alarms not only through the education world but the arts world as well. The university has been rocked by sharply declining enrollment and swiftly rising deficits since the national recession of a decade ago, Jeff Manning reported in The Oregonian. Fall term enrollment was more than 1,400 in 2013, and fewer than 750 in 2017.

An active opposition made up of students, former students, and faculty members has emerged in an attempt to overturn the board’s decision and find a new path to financial sustainability, but it faces a steep uphill battle. The closure of Portland’s vital and lamented Museum of Contemporary Craft, which was carrying a much smaller deficit, proved final.

From Christine Bourdette’s 2008 show “Riddles, Bunnyheads and Asides” at The Art Gym.

Marylhurst has been well-known in art circles for The Art Gym, an innovative and essential contemporary art center that paid deep attention to the work of living regional artists and usually published catalogs of its shows. Its loss, if the decision remains final, will be large. The university also offers a variety of valuable academic art programs, some of which, including its masters program in art therapy counseling, cross over into other disciplines.

The university has an active music presence and was home to many fine concerts in its intimate performing spaces: I still remember seeing the innovative 20th century composer Terry Riley (In C) in performance in the mid-1990s not playing his own minimalist-leaning music but singing traditional Indian ragas, sweeping and gliding and bending and always landing right. “Tonally, the raga is more like a string suspended between two sticks: Usually it’s slack, but you can draw it taut when you want,” I wrote at the time. “Riley is a master of the slide from slack to taut.”

A community loses such traditions at its own peril.

 


 

PassinArt takes the theater where the people are.

REPULSING THE MONKEY. PassinArt: A Theatre Company, in collaboration with ROSE Community Development, is entering its final two performances of Michael Eichler’s play Repulsing the Monkey, about a brother and sister who inherit a blue-collar bar in Pittsburgh and must decide, in the face of gentrification, whether they can keep it going. Final performances are at 7 p.m. Tuesday and Wednesday, May 29-30, with a discussion after the Wednesday show, and one of the interesting things about the production is where it’s being performed – at the T.E.A.M. Event Center in deep East Portland, at 9201 S.E. Foster Road. As Portland’s own gentrification and escalating housing prices force many people farther from the city center, arts and performance almost certainly will have to follow them. PassinArt’s most recent production, in North Portland’s Interstate Firehouse Cultural Center, was a well-received run of August Wilson’s Two Trains Running. Tickets for Repulsing the Monkey are a wallet-friendly $5-$15 sliding scale.

Lahti wins 24th Bronson Award

The veteran Portland sculptor takes this year's Bonnie Bronson award, legacy of the sculptor who died in a climbing accident

Every year about this time, Oregon art insiders keep their eye out for the latest news: who’s this year’s Bonnie Bronson Fellowship winner? Today, word came: It’s sculptor Cynthia Lahti, who’s been a familiar force on the Portland art scene for 30 years since returning to her hometown after earning her degree from the Rhode Island School of Design.

The Bronson Award is a big deal for artists around here. Named for the Oregon sculptor, who died in a mountain-climbing accident in 1990, it includes a no-strings cash award plus the purchase of work to add to the ever-growing Bonnie Bronson Collection of art by fellowship winners, housed at Reed College. The award always arrives with a bit of mystery attached: you can’t apply for it, chances are you don’t even know you’re up for it, and notification comes through a simple phone call. Plus, selection puts the winners in a sort of honor roll of working artists in the region.

Left: "Foie Gras," 2007; raku fired ceramic sculpture, 18.5 x 9 x 9 inches. Right: "Brown Bathrobe,"  2014; print on archival paper, broken ceramic sculpture, wood base, epoxy, 18 x 13 x 9 inches.

Left: “Foie Gras,” 2007; raku fired ceramic sculpture, 18.5 x 9 x 9 inches. Right: “Brown Bathrobe,” 2014;
print on archival paper, broken ceramic sculpture,
wood base, epoxy, 18 x 13 x 9 inches.

Coincidentally, Lahti has a new exhibition of sculptures and collages, Battle, on view at her Portland gallery, PDX Contemporary Art, through March 28. A release from Terri Hopkins, recently retired curator of The Art Gym and co-chair of the Bronson fellowships committee, quotes Lahti talking about her current work in small ceramic and paper sculpture: “There are so many figures out there in the world, wearing so many poses and costumes; I find those that resonate and interpret them in clay. Each sculpture expresses an intense inner psychological state, its surface effecting a fluctuating quality, part beautiful, part grotesque.”

The awards have been annual beginning with the first, to sculptor Christine Bourdette, in 1992. Winners since then, chronologically, have been Judy Cooke, Ronna Neuenschwander, Fernanda D’Agostino, Carolyn King, Lucinda Parker, Judy Hill, Adriene Cruz, Helen Lessick, Ann Hughes, Malia Jensen, Christopher Rauschenberg, Kristy Edmunds, Paul Sutinen, Bill Will, Laura Ross-Paul, MK Guth, Marie Watt, David Eckard, Nan Curtis, Pat Boas, Wynne Greenwood, Vanessa Renwick, and Lahti.