Sarah Brahim

Field of Vision

Conference introduces national organization to Portland through performance and discussion of pressing issues in Oregon arts

A group of prominent Portland artists sat around a table with representatives of some of Oregon’s heaviest hitting arts funders, and the conversation was growing tense. How do funders determine which artists receive support, one artist asked, especially individuals and small organizations that might lack resources and track record compared to better-funded and -staffed institutions? Why do funds seem to flow to the same organizations year after year, even though the art they pay for doesn’t reflect the diversity of the community the organizations and artists both purport to serve? 

Such questions have long troubled Oregon’s art scene as it evolves into a more diverse community. But we seldom hear them voiced aloud in a public event, especially with both donors and recipients present. It’s even rarer for the conversation to proceed beyond accusation to explanation and understanding.

But that’s what happened last spring when Portland’s New Expressive Works hosted the 2019 National Field Network Conference. Presented by staff members from the national organization Jennifer Wright Cook and Shawn René Graham, local Field office representatives Jen Mitas and Katherine Longstreth, and conference consultant Subashini Ganesan, the two-day event — which included performances, installation, and discussion– introduced the New York-based arts organization The Field to Portland, and offered about 200 Oregon artists and arts advocates the chance to participate in conversations about the work The Field is doing, and related issues arts organizations face here.

Pepper Pepper performed excerpts from the forthcoming ‘Noise/Data’ at The Field conference. Image: Karl Lind.

Along with putting artists and art funders around the same table for candid discussions, the first day events presented The Field’s history and explained its Fieldwork method for giving artists needed feedback on their work. The second day featured a panel of Northwest artists discussing the role of social media and digital media in their art practices, plus several performances of dance, music, installation and multimedia art — a welcome injection of actual art into the discussion of arts issues. The event raised some tough but necessary questions about Oregon’s art scene pertinent to artists, presenters, funders, and audiences.

This weekend, Portlanders can see some of the fruits of The Field PDX’s work as artists who’ve received feedback through its Fieldwork process show their work at New Expressive Works’s 12th Residency Performance, where they participated in a residency with Longstreth.

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Dance review: The 10th New Expressive Works residents performance

New work by Decimus Yarbrough, claire barrera, Sarah Brahim and Shaun Keylock: "I am not what you supposed, but far different."

The New Expressive Works tenth residency cycle has just been completed, and according Suba Ganesan, the residency’s founder, “it’s the strongest example of my vision coming to life.”

The four choreographers come from all ends of the movement spectrum, but the danced images related to each other in more ways than one: discovering and celebrating identity, attention to intra- and interpersonal relationships within movement, and a genuine desire to create a safe space for artistic expression. Through the various approaches and stylistic influences, each choreographer incorporated these thematic elements in different and thought-provoking ways. This diversity allowed for the audience to witness the “rich, multicultural professional artistry that inhabits Portland,” explained Ganesan.

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