Lisa Jarrett

Viz Arts Monthly: The post-holiday edition

The gears are grinding as the arts world shifts into 2019

Well, we made it. Hello, 2019. While some galleries are still shaking off their holiday hangover, there’s still good stuff to see. If you’re making new year’s resolutions, why not resolve to see more art in person! Some good shows are closing soon, so take this chance to see them before they go. Besides the ones listed here, make sure to check out the closing events at PICA’s Abigail DeVille show—two film screenings feature a local documentary about police violence and independent films from houseless youth. And if you haven’t had your fill of New Year’s celebrations, the Portland Japanese Garden will host an evening of music, games, tea, dancing, and performance for Japanese new year on the 13th. Also worth celebrating: five Portland artists have received the prestigious Painters and Sculptors grants from the Joan Mitchell Foundation. Congratulations to Addoley Dzegede, Lisa Jarrett, Elizabeth Malaska, Wendy Red Star, and Blair Saxon-Hill.

Ōtagaki Rengetsu (Japanese, 1791–1875), Samurai Footman with Poem, 1867, hanging scroll; ink and light color on paper, 12 13/16 x 17 1/2 in., Collection of Mary and Cheney Cowles.

Poetic Imagination in Japanese Art
Through January 13
Portland Art Museum, 1219 SW Park Avenue

There’s still time to catch this exhibition of, as Laurel Reed Pavic noted in her ArtsWatch review, “calligraphic texts, imaginary portraits of poets, monochrome ink paintings, and landscapes from the eighth through the twentieth century,” all drawn from the collection of Mary and Cheney Cowles. Maribeth Graybill, the Curator of Asian Art at the Portland Art Museum, calls the collection “without question one of the finest collections of Japanese art in private hands.”

Print by Christoph Ruckhäberle

Paradise Lost: Christoph Ruckhäberle
Through January 13
Ampersand, 2916 NE Alberta Street

Bursting with color, these collages, photogravures, and wood prints by German artist Christoph Ruckhäberle evoke a bustling world of shapes and figures. Many of the prints come from some process of recycling, whether it’s taking material from paintings made by Ruckhäberle or creating collages from makulatur, a German word that refers to wastepaper from test prints. This small, lively show should be a nice shot of color in the midwinter months.


Member Show
Through January 30
Blackfish Gallery, 420 NW 9th Ave

Stalwart of the Portland art scene since 1979, Blackfish Gallery is member-owned and operated by artists representing a broad spectrum of the local art community. This annual show highlights recent work by each current member, and kicks off the 40th anniversary of this community hub for countless regional artists.

Photo By Rebecca Reeve

Sun Breathing: Rebecca Reeve
January 3 – March 2, 2019
UpFor, 929 NW Flanders St

UK artist Rebecca Reeve brings a show of photographs of eerie, beautiful landscape interventions to Portland for her first solo exhibition at Upfor. Painting directly onto portions of the landscape or elements within it. Reeve returns to the same sites over and over, describing it as “watching the change in seasons and the earth breathe.” This allows her to develop a relationship with the area that informs her final photos, which represent a patient collaboration between Reeve and the light, flora, and natural elements of the landscape.

Sculpture by Joanna Bloom

Exaggerated Stories: Joanna Bloom
January 4-February 2
Adams and Ollman, 209 SW 9th Avenue

Regional artist Joanna Bloom’s first exhibition at Adams and Ollman “elaborates upon her experiments with the ritual forms of the trophy and the bowl.” These chunky, enigmatic ceramic sculptures draw on the right history of self taught art, ceremonial objects, and the landscape of the Pacific Northwest. Crowns, bowls, floral shapes, and other loose and lovingly-sculpted forms play with associations of achievement, glory, and recognition while reveling in imperfection and rough-edged personability.

Altar installation view

Altar: Lynn Yarne
January 16-March 1
Open Signal, 2766 NE Martin Luther King Jr. Boulevard

This vibrant mixed-media installation weaves the real-life stories of “nine elders from Portland’s Chinatown/Japantown” from a collection audio recordings, images, and animations. Yarne explores representation, local history, and community memory in the second- and third-hand stories that she’s pieced together in this altar to local mythology. A very long list of contributors and collaborator helped produce the three video pieces in the show Don’t Forget Who You Are Or Where You Are From, Digital Collage Power Portraits, and Power Shirts.

Visual Magic: An Oregon Invitational
January 19-May 12
Jordan Schnitzer Museum of Art
University of Oregon Campus, 1420 Johnson Lane, Eugene

The Jordan Schnitzer Museum of Art in collaboration with the George D. Green Art Institute presents a smorgasbord of beloved Oregon artists. Including recent work by 45 artists who emerged in Oregon during the 1960s and ’70s, the show features paintings, sketchbooks, ceramics, and mixed-media work from an influential generation of Oregon artists. Featured artists include Rob Bibler, Sharon Bronzan, Jon Jay Cruson, Humberto Gonzalez, George Johanson, Connie Kiener, Nancy Lindburg, Lucinda Parker, Isaka Shamsud-Din, Richard Thompson, and Phyllis Yes.

The Bridge by Amy Bernstein

Entre chien et loup: Amy Bernstein
Through January 22
Downtown Stumptown
128 SW 3rd Avenue

The newest recipient of the Stumptown Artist Fellowship, Bernstein is known in Portland for her ebullient, spare and gestural abstract paintings. The title of her exhibition comes from a French expression meaning “between the dog and the wolf.” While it usually refers to the time of day between dusk and night, Bernstein employs it here to describe our current era, which she calls a “divided time of possible selves.” To her it symbolizes “an investigation of an indiscernible time of light and darkness, a time of unimaginable metamorphosis and imminent revolution whose direction is not totally clear.”

 


 

Correction: An earlier version of this story reported that an exhibition of work by Hank Willis Thomas is at the Portland Art Museum. In fact, that show will open October 5.

 

 

Social engagement: politics, resistance, and art

2018 in Review, Part 5: Oregon ArtsWatch visited creators in all media who are addressing problems ranging from racism to climate change

The world is indisputably in a precarious position — not just politically and socially, but economically and even ecologically. It is a moment of crisis. Artists play a crucial role in moments like these, helping the rest of us arrive at a shared cognition of what is — of seeing, sensing, and feeling that roil of life in a way that clarifies, opens eyes, and maybe even showing us a way forward.

What struck me in compiling this year-end reading list on socially engaged art in Oregon is the extent to which artists strove not simply to see and interpret, but to peel back layers, to reveal what is largely hidden — either by design or by accident — by institutions, by geography, and even by the telling of history. There may be no “new” stories to tell, but too many stories haven’t been heard by those who need to hear them, by people who perhaps want to see, but don’t know how.

So dive into this compilation. There’s a bit of everything: visual art, theater, music, conceptual art, literature. And, of course, the usual disclaimer: The choices here are highly subjective and presented in no particular order, and obviously are not intended to be comprehensive.

 


 

Witnesses in a churning world

Artist Hung Liu says “Official Portraits: Immigrant” (2006, lithograph with collage) is one of three self-portraits representing stages of her life.

Sept. 27: ArtsWatch’s Bob Hicks checked out a fall show at the Hallie Ford Museum of Art in Salem called Witness: Themes of Social Justice in Contemporary Printmaking and Photography. It featured a lineup of artists who look at the world through a lens that is both personal and cultural, and in a way that connects our present moment with history.

“The idea of art as a pristine thing, separated from the hurly-burly of the everyday world and somehow above it all, is a popular notion,” Hicks wrote. “But a much stronger case exists for the idea of art as the expression of the roil of life, in all its messiness and cruelty and prejudices and passions and pleasures and occasional outbursts of joy. Art comes from somewhere, and that somewhere is the world in which we live.”

The article is a mini-tour of the exhibition itself, with nearly 20 pieces accompanied by the artists’ personal statements reflecting the roil and rebellion of their creative processes.

 


 

David Ludwig: Telling the Earth’s story through music

Chamber Music Northwest performs ‘Pangæa.’ Photo: Tom Emerson.

July 27: “Pangæa was the single huge continent on Earth encompassed by one vast ocean over 200 million years ago – eons before dinosaurs, much less humans,” musician David Ludwig writes in the program notes for composition of the same name. “It was an entirely different planet than one we’d recognize today, lush with life of another world.” That’s the world Ludwig interpreted musically in the West Coast premiere of Pangæa, a piece inspired by the ancient Earth, and the threat of extinction as a result of human-caused climate change. Matthew Andrews talked to him about this extraordinary piece of music for ArtsWatch. Best of all: You can listen to it yourself.

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Art review: Resistance begins inside

The six artists in 'The Work Continues' at PCC Sylvania’s North View Gallery respond to the political crisis by investigating their own identities

By LUSI LUKOVA

The Work Continues, at PCC Sylvania’s North View Gallery (the exhibition closed on Saturday), emerged from a unanimous functional depression felt by its six artists and two curators. We may easily guess the source of this unrest, even without curator Sam Hopple’s explanation that this artistic survey first took form in 2016 as a direct response to a numbness following the Presidential election.

“The Work Continues” (installation view), 2018; PCC North View Gallery/Image courtesy of Maria T.D. Inocencio

However, the manner in which these six artists chose to further engage with this unsettling environment—through a complex exploration of identity—gives this show its place in contemporary art activism. Each of these artists, through their own respective processes and mediums, toggles the question of “Who are we?”—as artists, as advocates, and as humans. Tapping into something deeply personal, each piece in this show is a vulnerable and raw demonstration of art that does not compromise.

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