Oregon painters

The Artists Series 3: Visual Artists

Ten 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 third installment of portraits in The Artist Series. The first two focused on Oregon writers. This one focuses on visual artists—the gifted painters and sculptors who have made invaluable contributions to the character and culture of this city and state, people whose legacies are destined to be part of our cultural history.            

It would take pages to catalog the awards, commissions, and honors of these artists and color reproductions of their work to provide a full appreciation of their wizardry so I will simply refer you to their various perches in cyberspace—their virtual ateliers.


LEE KELLY: SCULPTOR



Kelly is one of the most revered artists in the Pacific Northwest. He is best known for his monumental public sculptures. These large pieces are “often animalistic, sometimes suggestive of calligraphy or Asian script, always poetic.” – Bob Hicks, ArtScatter.

Examples of Kelly’s work can be found at the Elizabeth Leach Gallery and at lee-kelly.net.

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‘Nothing at all of this is fixed’

"It struck me as joyful": A visit to Dorothy Goode's studio reveals a merging, overlapping, playful kinship with Calder and Modersohn-Becker


STORY AND PHOTOGRAPHS BY FRIDERIKE HEUER


Was glänzt, ist für den Augenblick geboren, 
Das Echte bleibt der Nachwelt unverloren.

That which glitters is born for the moment;
The genuine remains intact for future days.

Johann Wolfgang von Goethe, Faust eine Tragödie, Kapitel 2: Vorspiel auf dem Theater (1808)

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I WAS SO COLD WHEN I LEFT Dorothy Goode‘s studio after a visit last week that I could barely get the key into the car ignition. During our first-ever encounter we had huddled, both in down jackets and hats, in front of a little electric stove in her unheated warehouse abode. The space had beautiful views, brilliant light, and a damp iciness that crept into my arthritic bones. I could not help but think of Frans Hals, that radical observer of humanity, who was so impoverished at the end of his life that in the Dutch winter of 1664 he accepted three loads of peat on public charity, otherwise he would have frozen to death. (Of course, he then had to portray the administrators of said charity, the Governesses of an Alms House in 17th century Haarlem – those faces all-telling.)

Dorothy Goode, painter.

Not that Goode would accept alms. Ever. Fiercely independent, proud, accomplished and not at all risk-averse, she’ll probably persuade you that rheumatism is the price you pay for pursuing your art. Or so I wager. After all, I have to run on the impressions of two hours of conversation with an artist intensely protective of her inner life.

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