Here’s looking at you: Visual arts in 2022
From Frida Kahlo to Banksy to Arvie Smith to Elizabeth Leach’s 40 years to Michelangelo vs. the dinosaurs, a year of invigorating things to see.
From Frida Kahlo to Banksy to Arvie Smith to Elizabeth Leach’s 40 years to Michelangelo vs. the dinosaurs, a year of invigorating things to see.
The secret to the Portland Art Museum’s exhibit on Kahlo, Rivera, and Mexican Modernism: Take it your own way, at your own pace.
Imago’s Jerry Mouawad talks about the Covid-era fear factor in Conor McPherson’s tense and anxious stage version of “The Birds.” Plus: Stage openings & closings.
A redesign of the ArtsWatch site brings many more options to the home page. Plus a reawakening performance scene, contemporary Japanese prints, and more.
Vanessa Severo talks about “becoming” the famed Mexican artist; Martha Washington bakes again.
ArtsWatch Weekly: Chamber Music Northwest enters the concert hall, shakeup at OBT, summer of soul.
Portland Opera’s summer show is fresh and flashy, with sex, angst & art propelling it into contemporary times.
ArtsWatch Weekly: Beating the heat, ‘Frida’ at last, Creative Laureate x 2, hip-hop dynamo & more.
Brett Campbell talks with the composer of Portland Opera’s “Frida,”
about the artist’s extraordinary life.
ArtsWatch Weekly: We’re emerging, but into what? The culture, and the arts world, consider the possibilities.
As audiences emerge tentatively from Covid, Portland Opera roars out of seclusion with big changes.
ArtsWatch Weekly: Photography gets (beyond) real, art museum reshuffles, Ashland’s indie film fest.
ArtsWatch Weekly: Where’s Frida; how to (maybe) reopen; farewell to Ross McKeen; puppets, comics, and more.
The museum plans to begin a phased reopening in July – and also announces a big round of layoffs.
Shut down by the pandemic, the Portland Art Museum puts 80 percent of its staff on unpaid leave.
EDITOR’S NOTE: In the second of two visual essays from northern New Mexico, photographer and artist Friderike Heuer visits Georgia O’Keefe’s home territory and revises her thinking about the artist. She also responds to O’Keeffe’s views of the land and sky with
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