Karen Slack

The arts moment: back, or ahead?

ArtsWatch Weekly: We're emerging, but into what? The culture, and the arts world, consider the possibilities and make plans.

LIKE MOST OF THE NATION, OREGON HAS ENTERED SOMETHING OF A STATE OF SUSPENDED ANIMATION. Are we in or are we out? Do we shrink or do we grow? Scurry back, or look ahead? In the immortal words of The Clash, should I stay or should I go? Large stretches of rural Oregon, apparently, are eager to go – out of Oregon and into Idaho. Meanwhile, we are free to go unmasked into public spaces if we’re fully vaccinated, but not everywhere and not all the time – and we either are or aren’t on an honor system: Grocery store and restaurant workers and others dealing with the public are being left to police the unmasked to make sure they’re not cheating, and to live with the consequences of their customers’ anger. Businesses that live and breathe on public access, such as the sweet Oregon-scaled Enchanted Forest amusement park south of Salem, have eagerly reopened – and then shut down again in the face of threats from unvaccinated would-be visitors over being required to wear masks. We are one state, it appears, deeply divisible, with liberty and justice dependent on your point of view.

Back to the future? Melvin Van Peebles’ 1968 debut feature “The Story of a Three-Day Pass,” about a Black American G.I. and a white woman who meet and hit it off in France, came two years before his breakthrough hit “Sweet Sweetback’s Badasssss Song.” And it is, Marc Mohan writes, “the most revolutionary ‘new’ movie to hit Portland this week.”

Still, the trend appears to be toward motion – moving ahead – and that includes the worlds of culture and the arts. Museums have reopened, with restrictions. Music and theater and dance are once again among us, if mainly via video stream or on outdoor stages. (But not completely: Portland’s Triangle Productions is entering the final weekend of its production of the comedy Clever Little Lies, live and on an indoor stage, with a quarter-of-the-house capacity of 50 people at a time.)

Here at ArtsWatch we’re shifting with the tide, too. For instance, we’ve renamed Marc Mohan’s movie column, which has been called “Streamers” through the pandemic because movies have been available only via streaming, as “FilmWatch” – because, as Marc notes, movie theaters are beginning to open up again, and whether it’s in a popcorn palace or streaming to your living room screen, a movie is a movie. Even then, as he writes in his latest film column, this whole moving-forward thing can be a confusing muddle of present, past, and possible future. “The most revolutionary ‘new’ movie to hit Portland this week is from 1968, of course,” he writes. That movie is The Story of a Three-Day Pass, the debut feature of maverick filmmaker Melvin Van Peebles, “a sneakily acerbic takedown of American racism, particularly its internalized effect upon the psyche of Black Americans.” A story ripped, or so it seems, from the headlines of pretty much any year you choose.



FRIDA’S POPPING UP ALL OVER, IN OPERA AND IN ART


LEFT: Catalina Cuervo as Frida and Bernardo Bermudez as Diego Rivera in Anchorage Opera’s 2020 production of ‘Frida’. They’ll repeat their roles this summer at Portland Opera. Photo by Kathleen Behnke, courtesy of Anchorage Opera. RIGHT: Kahlo and Russian revolutionary Leon Trotsky are among the figures in artist Molly Van Austen’s 175-foot scroll weaving around the Chehalem Cultural Center. Photo: David Bates

SUDDENLY IT’S FRIDA KAHLO SEASON IN OREGON: Onstage and via stream from Portland Opera, and on paper in a fascinating art exhibition at the Chehalem Cultural Center in Newberg. One of a handful of 20th century cultural figures whose work can draw a crowd just about anywhere, the ever-fascinating Mexican artist is either central to or an integral part of both shows. Here’s the word on each: 

  • PORTLAND OPERA’S BOLD NEW SEASON. As we noted here last week, Portland Opera will present Frida, its long-anticipated production of Robert Xavier Rodríguez’s opera about the life and times of Kahlo, in combined outdoor and streaming performances in June. This week, Angela Allen takes us beyond with a broad discussion of the big new changes brewing in the opera company’s new season, which ranges from its still-streaming Journeys to Justice concert of music about the Black experience to the coming traditional Tosca and the contemporary operas The Central Park Five, a Pulitzer Prize winner with music by Anthony Davis, and the “dystopian chamber opera” When the Sun Comes Out, which was commissioned by the Vancouver Queer Arts Festival. “Opera is for everybody, not just for millionaires and folks who get all dressed up,” Damien Geter, one of the company’s artistic advisors, told Allen. “People want to see things about real people, about real things, things that happened in recent times.” Soprano Karen Slack, Geter’s co-artistic advisor, added: “I am both a lover of grand traditional repertoire and new works. Having made a solid career on both sides, I know the power they both possess. A healthy mix of classics reimagined and new works is always exciting. A little something for everyone.”
     
  • ART FROM THE QUARANTINE LIFE. “Cultural life in Yamhill County hasn’t returned to pre-pandemic levels of activity, but the engine is revving louder these days,” David Bates writes. “People are making plans, holding rehearsals, scheduling summer art camps.” And at the Chehalem Cultural Center in Newberg, he adds, a “delightful new exhibit” addresses the question of what artists will make of the Shutdown Year: “How will a historic, life-changing pandemic translate to the stage, page, and canvas?” The show features suggestions from two artists: Joe Robinson, owner of the East Creek community art studio and anagama kiln near Willamina, who declares that the “large, beautiful pots” scattered around the gallery “can only be accomplished when many hands come together,” and Molly Van Austen, whose 175-foot scroll snaking around the gallery comprises something of a diary of her memories and imaginings during the pandemic. It’s a cavalcade of people: “Each image in this long drawing is a meditation on some dear person in my life. That brings me joy and sadness. Memories prolong life and intensify our emotions.” Among the crowd is a portrait of Kahlo with the Russian revolutionary Leon Trotsky. Frida seemed to know everybody – and as likely as not, everybody was at least as eager to be around Frida as Frida was to be around everybody.


PEAK EXPERIENCES: GOING TO THE MOUNTAINTOP


From left: Taylor Feldman, Ryan Stee, Stacey King and Shanita King on the trip to the top of Mt. Hood in Devin Fei-Fan Tau’s documentary “Who’s On Top?”

DEVIN FEI-FAN TAU: WHO’S ON TOP? In her newest Stage and Studio podcast, Dmae Roberts talks with Portland’s Devin Fei-Fan Tau, a gay Taiwanese-American filmmaker, about his new documentary Who’s on Top?, in which he and his crew follow four LGBTQ+ climbers – only one of them with previous climbing experience – in their quest to get to the top of Mt. Hood. It’s not just a physical journey, but an emotional one, too, and Roberts’ interview includes the voices of each climber talking about what led them to this pursuit. As Roberts puts it: “Historically excluded and ostracized as not belonging to the adventurer community, the climbers tackle not only a mountain, but assumptions about who they are and how they belong to the world of outdoor sports.” Bonus: The film is narrated by the great George Takei.

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Lawrence Shlim (American, born 1954). “Volcanic Ash, Centralia, Washington,” 1980. Gelatin silver print. Portland Art Museum, Gift of the artist, 81.41.2

TUESDAY, MAY 18, WAS THE 41st ANNIVERSARY OF THE ERUPTION OF MOUNT ST. HELENS, one of the signal events in the history of the Pacific Northwest. (It was a Sunday morning in 1980, and I was in Seattle, waiting at the depot to board the train back to Portland, which didn’t happen because the tracks were wiped out somewhere south of Centralia). The mountain’s cataclysmic explosion was the focus of the Portland Art Museum’s terrific exhibition Volcano! that opened last spring, and that in turn lost most of its run to another catastrophe, the coronavirus pandemic. Fortunately, the museum assembled this excellent online version of the exhibition, which you can still access. It’s a grand-scale show, with historic paintings going back as far as the 1850s, some wonderful post-explosion paintings by Henk Pander, George Johanson, Lucinda Parker and others, and many photos documenting both the devastation and the recovery that followed. If you click the link, you’ll find your own favorites. One of mine is the photo above, by Lawrence Shlim, of a street scene in Centralia, looking out a window at a man walking through a blizzard of ash. It seems to speak both to 1980 and the plague year of 2020: life enduring and moving on in the midst of disaster. A town staying, and going, too.



THE NIGHT JANET REED DANCED INTO BALLET HISTORY


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Portland Opera’s bold new season

As audiences emerge tentatively from Covid, the Opera roars out of seclusion with big changes – and a little something for everyone

If you watched the moving Journeys to Justice concert, streaming through May 31, you can see that the 56-year-old Portland Opera’s evolution is taking root in a more inclusive philosophy and broader repertoire. The six-piece program of Black-experience songs and chamber operas, sung by PO’s Resident Artists, all performers of color, is a major step into a broader opera world. It signals that new stories are being told in new ways by new people. This spring PO even crafted a new mission stressing inclusion, collaboration and connection — and thereby reaching out to new, wider audiences.

“Opera is for everybody, not just for millionaires and folks who get all dressed up,” PO co-artistic advisor Damien Geter told Oregon ArtsWatch. “People want to see things about real people, about real things, things that happened in recent times.” The more people that PO’s operas relate to, the faster the audiences will grow, he says.

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Music Notes: gone virtual

With so many performances going online, our news roundup follows suit with video and audio from Oregon musicians

With so many performances going online, our news roundup follows suit with video and audio from Oregon musicians for your home streaming enjoyment

Since we’re all streaming instead of attending these days, this latest edition of our irregular music news roundup accordingly boasts lots of  recent music related video and audio treats to tune into while we impatiently await the return of live music. And it’s replete with announcements of upcoming music seasons gone virtual. Since for the most part we can’t actually be there, we’ll just have to be square — or actually (checks screen dimensions) rectangular.

Double Dash offered a behind-the-scenes peek at the improvisational creative process.

However, live music is creeping back in occasional, socially distanced performances featuring a few musicians and spaced-out audience members. Last time, we told you about the Driveway Jazz Series (streamable socially distanced outdoor performances by top Portland jazz artists held in front of a bungalow in Southeast Portland, which continues every Friday at 4 pm), Boom Arts’s parking lot shows, and Eugene Symphony/Delgani Quartet cellist Eric Alterman’s solo recitals (featuring his own music and J.S. Bach’s) in a Eugene park. Now comes news that pianist Hunter Noack’s In a Landscape project and the Oregon Garden have each found ways to bring the music back to live. 

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