Forest Avenue Press

Women on the move: These are the days, again

ArtsWatch Weekly: History moves into the forefront, a new series on Indigenous resilience, it's film fest time, a month of culture

ON SATURDAY THE DOOR BETWEEN THE PAST AND PRESENT CREAKS OPEN JUST A LITTLE BIT: After months of coronavirus shutdown and a couple of bouts of vandalism during protests in the South Park Blocks, the Oregon Historical Society reopens its downtown Portland center to visitors on a limited basis, joining such other Oregon museums and historical sites as Salem’s Hallie Ford Museum of Art, Bend’s High Desert Museum, the Grants Pass Museum of Art, and Portland’s Pittock Mansion, which has also just reopened on a limited basis. The historical society will be open noon to 5 p.m. Saturdays and Sundays until further notice: Know the rules before you go

Abigail Scott Duniway voting for the first time, May 5, 1913, in Portland. The sister of Harvey Scott, the conservative editor of The Oregonian, she was a leading early suffragist and his political foil. Photo: Oregon Historical Society

MARCH IS WOMEN’S HISTORY MONTH, and one of the big exhibits you’ll find at OHS is Nevertheless, They Persisted: Voting Rights and the 19th Amendment, which tells the story of the fight by women to win the right to vote. One of the movement’s prime figures in Oregon was Abigail Scott Duniway, a Portland suffragist and the sister of the stolidly conservative Harvey Scott, longtime editor of The Oregonian, whose statue in Mt. Tabor Park was torn down from its pedestal in October and recently, in a mysterious guerrilla art action, replaced by a handsome bust of York, the Black man who was a slave of William Clark and traveled with Clark and Meriwether Lewis on their expedition to the Pacific Ocean in 1805. Among other things, Scott was a steadfast opponent of women’s suffrage. Sometimes, what goes around comes around.

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Art on the move: responding to crises

ArtsWatch Weekly: The Black Lives Matter movement and the continuing coronavirus challenge are reshaping the arts world

WE ARE IN THE MIDST OF LIFE-CHANGING TIMES, and in the face of multiple crises remarkable work is being done. How do artists fit in? Sometimes, smack in the middle of things. Many news organizations have been doing excellent work of discovering the artists speaking to the moment and bringing their work to a broad audience. Oregon Public Broadcasting, for instance, has been publishing some sterling stories – including the feature The Faces of Protest: The Memorial Portraits of Artist Ameya Marie Okamoto, by Claudia Meza and John Nottariani. Okamoto, a young social practice artist who grew up in Portland, has made it her work not just to document the events of racial violence in Portland and across the United States: She’s also, as OPB notes, “crafted dozens of portraits for victims of violence and injustice.” 


Ameya Okamoto, “In Support of Protest.” Photo courtesy Ameya Okamoto

“People get so attached to the hashtag and the movement of George Floyd or Quanice Hayes,” Okamota tells OPB, “they forget that George Floyd was a trucker who moved to Minneapolis for a better life, or that Quanice Hayes was actually called ‘Moose’ by his friends and family. When individuals become catalysts for Black Lives Matter and catalysts for social change … there is a level of complex personhood that is stripped away from them.” In her work she strives to give that back.

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