Street Roots

ArtsWatch Weekly: A world on fire

Trees in Trouble. Farewell, Tim Stapleton. Maryhill finally opens. Lots of music. Women in film. Pop-up posters. TBA, Street Roots & more.

NOTHING I CAN WRITE ON A DAY LIKE THIS IS MORE IMPORTANT than the story sweeping across Oregon and the West, where high winds and wildfires and crackling-dry conditions have unleashed historic devastation. Whole communities have been erased. Main highways are blocked off; others have been bumper-to-bumper crawling with people fleeing danger zones. Hundreds of people have been burned out of house and home. Complex ecosystems have been uprooted; wildlife flee with no sure place to go. In Oregon as of Thursday afternoon at least 800 square miles of land was burning, much of it out of control. 

Amid the chaos I’ve seen many small tales of courage, generosity, and resourcefulness. People in the country offering refuge for horses, livestock, pets. Parking lots and driveways offered for people escaping in their trucks or campers. Neighbors helping clear downed trees. Medical and utility and emergency workers, already stretched by the mounting catastrophes of this most extraordinary year, laboring overtime under daunting and exhausting circumstances. As I sit at my desk at 10 in the morning and look out the window the sky has turned from blood-orange to a pink-tinged gray. The acrid smell of smoke seeps through the cracks and into my nostrils. And I am deeply aware, and immensely grateful, that I am one of the fortunate ones, sitting in a stretch of Portland that’s been spared the worst of these multiple conflagrations, and that, barring a radical shift in weather patterns, is likely to remain a safe shelter. 

How did we get here? Where are we heading? In search of some answers ArtsWatch’s Barry Johnson talked with Portland writer Daniel Mathews, author of the recent book Trees in Trouble: Wildfires, Infestations, and Climate Change. Mathews takes a long view of the state of the forests, the destabilizing effects of climate change, the role of public policy, and other factors contributing to the chaos of the land. “I’m heartbroken looking at the maps and seeing so many towns and forests I visited just in reporting for this book,” Mathews tells Johnson. “This week’s fires are shocking and truly historic: it’s likely that more acres burned in the West than in any 48-hour period in written history, including the Big Blow-up of 1910. … I  guess there are a lot of disconnects between science and policy in this country, but forest fire policy is one of the most stubborn.”


TIM STAPLETON: FAREWELL TO A GREAT SPIRIT


The much loved Tim Stapleton, in transition. Photo courtesy Gary Norman

TIM STAPLETON, THE LONGTIME PORTLAND set designer, visual artist, writer of uncommonly good memoirs, and occasional actor, died at a hospice care center on Labor Day morning, Sept. 7, from the effects of ALS, Lou Gehrig’s Disease. He leaves legions of friends and admirers, and an enormous hole in Portland’s artistic community. Tim, born in Kentucky coal country in 1949, constantly called in his work on memories of those days and that culture, and before he had to move to hospice care he made his home in The Holler, a stretch of country-in-the-city in a tucked-away part of northern Portland, which is where photographer Gary Norman took the portrait above. In it, Tim seems to be simply walking away, toward something, taking his soft wry voice and sometimes jagged laughter and passion and wit with him, but leaving a trail of memories behind. 

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ArtsWatch Weekly: old, new, always

Same old story? Brash new wave? In Oregon arts & culture this week, old and new mix it up, and it's sometimes tough to tell which is which

ART IS ABOUT STRIDING BOLDLY INTO THE FUTURE and discovering the new. The Portland Art Museum, for instance, is getting ready to open the first major retrospective of the work of American artist Hank Willis Thomas, whose photography, sculpture, video, and collaborative public art projects turn their focus sharply and sometimes satirically on the flashpoints of contemporary culture and the struggle for social justice and civil rights. Hank Willis Thomas: All Things Being Equal …, which will run Oct. 12-Jan. 12, is the museum’s big fall-season attraction, and a central part of a run of shows in the next few months about the work of artists of color: the essential Portland painter Isaka Shamsud-Din, the great Robert ColescottFrida Kahlo and Diego Rivera, and the just-opened exhibition Question Bridge: Black Males.

Hank Willis Thomas, The Cotton Bowl, from the series Strange Fruit, 2011. Digital c-print. 50 x 73 inches. © Hank Willis Thomas, courtesy of the artist and Jack Shainman Gallery, New York.

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Happy birthday, Street Roots

Portland's weekly newspaper celebrates 20 years as a beacon of advocacy for the city's homeless, and its crew of vendor poets


STORY AND PHOTOGRAPHS BY FRIDERIKE HEUER


“THERE IS A LOT OF COURAGE OUT HERE,” Kaia Sand, executive director of Street Rootscommented recently when introducing women and men at a poetry reading at Gallery 114 ready to present their writing to the assembled guests. The poets were people who are living, fighting, and surviving houselessness. One should add grit, determination, persistence and talent to the notion of courage – both with regard to the presenting poets and the organization that endeavors to support them.

Symbols of the street: the right to speak out.

Many of us might be buying Street Roots on occasion or on a regular basis. The weekly newspaper is produced to provide income opportunities for people experiencing homelessness and poverty, and to act as a catalyst for individual and social change. Vendors pay 25 cents for every paper they sell for $1. For that, they stand days on end on street corners, in all weather, facing who knows how many people who avert their eyes for every one who glances at them, or engages in quick conversation while buying the paper. What stays invisible is the talent and perceptiveness of those vendors trying to connect. What stays hidden is our own timidity to face misery that contrasts with our privilege. Off we rush, having paid a token buck.

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Tattoo you: art in the flesh

Gallery 114's "InkBodySkinPaint+Fire," with paintings by David Slader and photos by Owen Carey, looks at and below the surfaces of self

A week ago Wednesday evening, the night before the official First Thursday opening at Gallery 114 of the artist-run gallery’s March show, InkBodySkinPaint+Fire, the basement space at Northwest Glisan Street and 11th Avenue was hopping. It was the pre-opening opening, insiders’ night, and the place was packed. Actor and longtime theater teacher Bob McGranahan was outside at the corner, an early bird just flying off after checking the scene. At the stairway entrance a vendor for the weekly homeless-advocate publication Street Roots, which had a cover story by Emily Moore on the exhibition, was offering papers for sale.

Rusty Tennant: jump for joy. Photo: Owen Carey

Down the stairs to the landing a photograph of actor/director/producer/tech whiz Rusty Tennant hangs like a vivid greeter or bouncer at the door, tattooed as ornately as the stage set for a Victorian drawing-room comedy with a tree-earth mother gracing his brawny upper arm. Inside, a congenial and varied mob of theater people, art people, and friends of the artists was milling around, chatting, sipping wine, taking in the work of the two artists: painter David Slader, a gallery member (he also has a large long sculpture in the show), and his invited guest artist, photographer Owen Carey.

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