Mary Josephson

The Artists Series 4: Visual Artists

Ten more portraits in black and white by K.B. Dixon of Oregon artists who are helping to define what Portland and the state look like


TEXT AND PHOTOGRAPHS BY K.B. DIXON


This is the fourth installment of portraits in The Artist Series. The first two focused on Oregon writers. Part 3 and this installment, Part 4, focus on visual artists—the gifted, award-winning painters, sculptors, and photographers who have made invaluable contributions to the cultural life of this city and state, people whose legacies are destined to be part of our cultural history.

For an introductory look at their work, I refer you to their digital digs—their virtual ateliers.


STEPHEN HAYES: PAINTER


A “deft blending of representation and sheer abstraction underpins Hayes’s eminence as a supreme kind of painters’ painter in the Pacific Northwest.” – Sue Taylor, Art in America.

Examples of Hayes’s work can be found at the Elizabeth Leach Gallery and at https://www.stephenhayes.net

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A history of Portland women artists

Katherine Ace's "9 Portraits" celebrates the strength of a generation of women artists. All nine gather to talk about how they got there.

It’s all about the art, of course. But it’s also about the artists and the viewers, and how and why the art came to be. So on a sunny Saturday morning at Froelick Gallery off Northwest Broadway in Portland, a standing-room-only crowd of more than 80 people, many of whom had ducked and dodged around the Portland International Beerfest setting up in the park a block away, gathered to delve into a particular work of art and its double and singular visions.

Katherine Ace, 9 Portraits, diptych, 2019; oil, alkyd on canvas, 72 x 120 inches, at Froelick Gallery through July 13. Photo: Jim Lommasson

The crowd, many of whom were also artists, packed the place to get a close look at 9 Portraits, artist Katherine Ace’s 10-foot-wide diptych group portrait of nine prominent veteran Portland women artists, and to hear those artists talk about the painting, their careers, and the often difficult path of making it as a woman in a traditionally male-dominated field.

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ArtsWatch Weekly: Framing Wordstock, and other tall tales

Hitting the books with Portland's literary festival, First Thursday, gamesmanship on the Oregon Trail, coyote on a fence

“A story should have a beginning, a middle and an end, but not necessarily in that order,” the movie director Jean-Luc Godard famously said, and that’s as good a prompt as any to remind you that Wordstock, Portland’s annual orgy of all things literary, is coming up Saturday at the Portland Art Museum and other easily walkable venues along the South Park Blocks.

Take a deep breath. The list of writers taking part, local and far-flung, is long, and this is just a few of them: Diana Abu-Jaber, Sherman Alexie, Nicholson Baker, April Baer, David Biespiel, Carrie Brownstein, Peter Ames Carlin, Liz Crain, Monica Drake, Brian Doyle, Zach Dundas, Renée Ahdieh, Rabih Alameddine, Rivka Galchen, Yaa Gyasi, Karen Karbo, Shawn Levy, Gigi Little, Richard Russo, Sallie Tisdale, Colson Whitehead. It’s a veritable library of contemporary writing in the flesh.

Hangin' in the balcony at last year's Wordstock. Photo: Angie Jabine

Hangin’ in the balcony at last year’s Wordstock. Photo: Angie Jabine

Ah, but what if your story doesn’t have an end? I thought of that yesterday, flying home to Portland from the East Coast, when I boarded a connecting flight in Chicago at just about the time the sixth game of the World Series was beginning. The Cubs, of course, were in the thing, for the first time since 1945, and the Cleveland club (itself a longtime also-ran) was threatening to walk away with the rubies. Spirits were high on the plane as Chicagoans, many of them rabid fans, walked on and began to fill the cabin: It was a full flight, with no empty seats.

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Face to Face: K.B. Dixon photographs Oregon artists

The photographer and novelist's new book and exhibition turns the camera on 32 working artists in their homes and studios

Face to Face,” novelist and photographer K.B. Dixon’s new book, features photographic profiles of thirty-two Oregon visual artists, mostly in their studios. An exhibition of the photographs opened Wednesday at Michael Parsons Fine Art in Portland, and runs through February 27. Opening reception is 1:30-3:30 p.m. Saturday, February 6. ArtsWatch’s Bob Hicks wrote the introduction to the book. We reprint it here, in slightly revised form.

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Walk with photographer K.B. Dixon into the studios and homes of the thirty-two Oregon artists in Face to Face and it’s as if you’re walking into industrial zones. Which, of course, you are. These are working spaces, and working faces.

Looking at the portraits and studio shots in Dixon’s selection of photographs, I think of muscle and work and energy in repose, just itching to get back at it. Dixon’s photos aren’t tidy images of finished artwork lining pristine gallery walls. They’re backstage documents of the process itself; of the zone where ideas and industry merge and creation begins. Making art is hard physical work, an intense undertaking that involves the brain and hand and sinew and bone. Seeing these practitioners in these settings is like seeing dancers in the studio, or athletes in the weight room.

  • Sculptor Lee Kelly, sitting like a craggy farmer amid the spools and vises of his machine shop.
  • The young drawing and printmaking artist Samantha Wall, pencil in hand, bent intently and precisely over her work desk.
  • Printmaker Tom Prochaska, hair bristling like an absent-minded experiment in static electricity, framed by the gears and wheel of his press.
  • Sculptor M.J. Anderson, surrounded on the steps of her Nehalem studio by a worn broom, a giant dustpan, stacks of buckets, and heavy-duty hooks and chains.
  • Ceramic and steel artist J.D. Perkin, standing amid a welter of hoses and hand tools and a big rustic kiln, torsos and body parts and a big striped head lined neatly on shelves.
  • Painter Laura Ross-Paul, straight and sturdy, balanced between brawny paintings taller than she is.

Lee Kelly. Photo: K.B. Dixon

Lee Kelly. Photo: K.B. Dixon

Like the work of most good portrait artists, Dixon’s photographs perch somewhere between self-aware surfaces and excursions in depth. They’re collaborations, partnerships between subject and artist. The subjects know they’re being photographed, and pose for the camera, but also leave themselves open to the subtleties and secrets of what the camera finds. The results can be startlingly varied, from Sally Cleveland’s anxious gaze, to Jack Portland’s rumpled-Yoda reflectiveness, to Sherrie Wolf’s hands-on-hips declaration of independence, to the elder cool of Mel Katz, leaning back, smiling quizzically, cigarette propped jauntily in hand.

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