Tom Prochaska

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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Hallie Ford Fellows explore ‘What Needs to Be Said’

The Salem museum features 13 artists in a traveling exhibit emphasizing the range of visual art

The poster for What Needs to Be Said, an exhibition at the Hallie Ford Museum of Art in Salem, features an image of a stack five thick hardbound volumes by artist MK Guth, who incorporates participatory engagement into work that includes printmaking. 

These books, bearing the title of the show, are in fact part of the show. Each has a subtitle: Love, Politics, Identity, Ecology, and Art. When the exhibit opened mid-September, most of what must be thousands of pages were blank, but that’s for the viewer to rectify. Those with something to say, something they deem must be said, may say it here (anonymously or not) and know that they’ve contributed to Guth’s vision. She will seal the volumes once they are filled, making them, according to guest curator Diana Nawi, “repositories for inner thoughts, objects that index and contain critical expression without fully revealing it — an apt metaphor for the possibilities of artistic practice.”

"What Needs to Be Said," is a printmaking project by MK Guth, after which the show at Hallie Ford Museum of Art is named. Photo by: David Bates
MK Guth’s project “What Needs to Be Said” shares its title with the name of the show at the Hallie Ford Museum of Art. Photo by: David Bates

Guth is one of 13 artists whose artistic practice is featured in the show, which runs through Dec. 20 on the Willamette University campus, a few blocks east of downtown. What links them? All were recipients of the Hallie Ford Fellowship between 2014 and 2016, an award that goes to Oregon artists “based on accomplishment, depth of practice, and future potential.”

A variety of work fills the sprawling ground-floor Melvin Henderson-Rubio Gallery: photography, drawings, installation, sculpture, a soundscape (which I initially thought was the building’s air circulation system), as well as the public engagement invited by Guth’s books. A handsome, 112-page hardcover catalog with short essays by Nawi and a half-dozen arts-and-culture critics can be purchased in the lobby.

What Needs to Be Said is touring Oregon. It opened in the Umpqua Valley Arts Center and Umpqua Community College in Roseburg earlier this year. Early in 2020, it arrives at Disjecta in Portland. The show heads south again in 2021 to the Schneider Museum of Art at Southern Oregon University in Ashland.

The diversity of media on display posed, for me, a chicken-egg question. Was the show’s title selected and Guth’s piece adopted it? Or was the piece submitted before the show was named? I asked Nawi, a Los Angeles-based curator. It turns out the book stacks came first; Nawi was already familiar with them.

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Visual Arts 2018: The big picture

2018 in Review, Part 7: From museums to studios to brave new spaces, a recap of some of ArtsWatch's views and reviews from a year in art

The visual arts stories at ArtsWatch this year ranged far and wide and – as usual – didn’t even come close to covering all that went on in the world of Oregon art. While some may see that as a failure, we choose to see it as a windfall. We are fortunate to live in such an active arts community. If we could cover everything, it would mean a much smaller everything, and that doesn’t benefit anyone. Here is a neat (and incomplete) encapsulation of visual vrts stories in 2018.

We took you behind the scenes with interviews with Oregon artists that explored origins, processes, interests, and other machinations of established and emerging artists. Paul Sutinen interviewed, among others, Judy Cooke on the occasion of her fall show at Elizabeth Leach and Tom Prochaska on the occasion of his spring show at Froelick. Hannah Krafcik interviewed kiki nicole, and ariella tai about their work with the first and the last, an experimental film/video and new media arts project in Portland. Krafcik was then able to follow up in another interview with Jaleesa Johnston about her screening and workshop at the first and the last.

Judy Cooke, “Pink”, 2018, oil, aluminum, 14” x 10” x 1.5”

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People & Conversations 2018

2018 in Review, Part 3: ArtsWatch goes behind the scenes for conversations with 22 creators who talk about their lives and art

By Sarah Kremen-Hicks

Theaters have their curtains. Paintings have their frames. Books have their covers. The act of presentation, of framing, of giving things edges, shifts the subject to the work itself and hides the artist away, if only a little bit. ArtsWatch’s writers have spent the past year seeking out the artists behind the frames and bringing them to you. Here are 22 glimpses behind the curtain from 2018.

 


 

Michael Brophy in his North Portland studio, 2017. Photo: Paul Sutinen

A conversation with Michael Brophy

Jan. 3: Prominent Northwest painter Michael Brophy talks with Paul Sutinen in an interview that begins with being “the kid that drew” and becomes a meditation on medium and viewership:

Where did that lightbulb come on for you to say, ‘OK, I saw all that stuff in London and now I want to go to art school.’

I knew the minute I saw paintings, like in the National Gallery. The scale of things—my mind was blown by the size of things. An artist I don’t think about much, Francis Bacon, there was a room of Bacon’s paintings [at the Tate Gallery] and it terrified me. I didn’t know that art could do that. I had to leave the room. I had a kind of like a panic attack.

I think they call it ‘epiphany.’

Yeah, so after that I just knew what I was going to do. Just as simple as that.

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Tom Prochaska: Painting in the round

Paul Sutinen continues his series of interviews with Oregon artists, this time with painter and printmaker Tom Prochaska

Tom Prochaska, who turns 73 this month, began his career with an intense involvement in printmaking, both as an artist and as a professional fine art printer. During the last two decades his main focus has become painting—paintings in which scenes and figures seem to slowly emerge from a fog of small brushstrokes.

In his current exhibition, “The Boxer,” at Froelick Gallery, through March 31, Prochaska includes paintings in a new circular format, as well as several papier-mâché figurative sculptures. Tom Prochaska will be speaking about his work at the gallery on Saturday, March 10, at 11 am.

Tom Prochaska in his studio with his big painting in process/Paul Sutinen

You do painting, you do sculpture, you do printmaking—do you think of any one of those is being your primary medium?

My primary right now is painting and it’s growing and more that way. I know where the sculpture fits. Printmaking—I was printing for other people. I was trained in Switzerland and Pratt Institute. A lot of that was the way I was making a living, printing for other people. I would include learning from that into my homework. So, people view me as a printmaker, but I’ve always been a painter.

Yes, I think that’s the way I came to know your work. How long have you felt that painting is taking the lead in your work?

The last 15 years. As I get older the printmaking becomes more challenging physically. I used to print 50 prints for somebody in a day, and I would print for myself. Now, for example, I have a show in Switzerland of just prints in September and the editions I’m printing are five because I can handle that physically. I did a portfolio as a tribute to a group of people I know. I’ll do those kind of things now, but it’s not the driving force. I would say for the last 15 years I’ve been centered on painting more and, like that painting back there [on the far studio wall], it might take me a year to finish that. I don’t have any idea where it’s going right now. It’s going a bunch of different places, but I’ve slowed everything down a bit. I’m being more patient.

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ArtsWatch Weekly: whale of a week

A look at the week that was in Oregon arts. A glimpse ahead at the week that's going to be.

The history of art, in a way, is a history of obsession. And who is more obsessed than Captain Ahab, feverish hounder of the great white whale? Herman Melville, perhaps, creator of the novel Moby-Dick, or, The Whale, and thus creator of the monomaniacal Ahab. Or Orson Welles, the mad genius of the cinema, who attempted to latch on to Melville’s harpoon and ride it to obsessive triumph in an unlikely stage adaptation of a novel that might be both untamable and unadaptable. Or, maybe, Scott Palmer, the adventurous artistic director of Bag&Baggage Productions, who’s taken Moby Dick, Rehearsed, Welles’s obsessive adaptation of Melville’s obsessive novel, and brought it to the B&B stage. In his fascinating (and in its own way, obsessive) review of B&B’s production, ArtsWatch’s Brett Campbell quotes Palmer on the book that started it all: “Moby-Dick isn’t a novel, it is an entire imaginative world. It is massive, bulky, colossal, terrifying, majestic and ultimately unfathomable. It is the physical representation of one man’s will, one artist’s transcendent vision, an entire internal universe externalized …”

Bag&Baggage's magnificent obsession. Casey Campbell Photography

Bag&Baggage’s magnificent obsession. Casey Campbell Photography

Giant whales and such, as Brett points out, have been something of a communal obsession in Portland lately, from Portland Experimental Theatre Ensemble’s season-long serial [or, the whale] to Portland Story Theater’s The Essex, the Northwest Film Center’s Welles-fest, a reading of excerpts from the novel at Portland’s Mother Foucault’s bookshop, and the musically adventurous AnyWhen Ensemble’s Moby-Dick inspired Boldly Launched Upon the Deep.

And how does this magnificent obsession (or cascade of obsessions) work out? Campbell writes: “Neither Ahab nor Melville nor Welles nor Palmer let the challenges of their tasks daunt them. Ahab caught his prey, but it cost him his life and those of his crew. Melville’s novel was widely regarded as a crazy failure in its time, and its overabundance of non-dramatic material still repels many readers. Welles’s misguided attempt to turn so inward-gazing a novel as Moby-Dick into compelling stage drama amounted to hunting a white whale; as Palmer acknowledged in a pre-show talk, it’s perhaps a good thing that Welles devoted himself to filmmaking rather than playwriting. In nevertheless choosing to stage Welles’s whale folly (in his centennial year), Palmer again plays the white knight, this time trying to save the white whale. Does he catch the object of his obsession in this new production and redeem Welles’s hubristic vision? Like the others, it’s a foredoomed, magnificent failure that, if you can stick with it long enough, you ultimately can’t let go of.”

America is, of course, a land of magnificent attempts and magnificent failures, which makes this whole thing seem so, well, American. It’s like a magnificent stab at the great American production of the great American adaptation of the great American novel: Who needs perfection when you’ve got a series of obsessions the size of a great white whale?

 


 

Vin Shambry (left), Chantal De Groat, and Chris Harder in "We Are Proud To Presnt ..." Photo: Owen Carey

Vin Shambry (left), Chantal DeGroat, and Chris Harder in “We Are Proud To Present …” Photo: Owen Carey

America is also obsessed with race, and the great stain of its racial history, which continues to trouble and obsess us in everything from policing to housing to job opportunity to our political campaigns, where it is sometimes used like a hidden (or not so hidden) persuader of fear and loathing. ArtsWatch’s Barry Johnson delves into this not-so-magnificent American obsession in his review of Artists Rep’s new production of We Are Proud To Present a Presentation About the Hero of Namibia, Formerly Known as Southwest Africa, from the German Sudwestafrika, Between the Years 1884-1915, Jackie Sibblies Drury’s smart and searing play about race, and our continuing difficulty in talking about it honestly, often even when we have the best of intentions. “We Are Proud to Present is a scorpion of a play,” Johnson writes, “and its tail packs a serious punch made all the more deadly by the light tone of the beginning.”

 


 

Tamisha Guy and Vinson Fraley Jr. in Kyle Abraham’s ‘The Getting’. Courtesy White Bird, © Jerry and Lois Photography All rights reserved http://www.jerryandlois.com

Vinson Fraley Jr. and Tamisha Guy in Kyle Abraham’s ‘The Getting.” Courtesy White Bird, © Jerry and Lois Photography. All rights reserved. http://www.jerryandlois.com

And while we’re on the subject: In Kyle Abraham dances about race, Nim Wunnan writes for ArtsWatch about the dance troupe Abraham.In.Motion’s canny and provocative performance in the White Bird series, a trio of works rooted in hip-hop, modern, and contemporary dance. The show “confidently and gracefully engaged both historical and very immediate issues of race and the individual’s place in this culture,” Wunnan says, and adds: “We start to understand in this work that certain movements and positions are almost exclusive to black bodies in this culture. And we rightly start to feel uncomfortable in our seats, notably when the usually vibrant and fluid [Tamisha] Guy sinks to the floor with a leaden exhaustion, face down, with her hands behind her back in an unmistakable position of submission, of arrest. The one Oscar Grant was in when he was shot point blank in the back.” Grant, in case you’ve lost track amid the the seemingly endless string of “incidents” involving police and black citizens, was slain by a Bay Area Rapid Transit policeman in the early hours of New Year’s Day 2009 in Oakland.

 


 

Heath Koerschgen and Danielle Weathers in "Davita's Harp." Photo: Friderike Heuer

Heath Koerschgen and Danielle Weathers in “Davita’s Harp.” Photo: Friderike Heuer

A few things to keep in mind on this week’s calendar:

Davita’s Harp. The Jewish Theatre Collaborative has been preparing all season for this world-premiere adaptation (by Jamie M. Rea and director Sacha Reich) of Chaim Potok’s 1985 novel about a contentious family in the New York of the 1930s, as the world is churning toward disaster. Opens Saturday; through April 9 at Milagro Theatre.

Arvo Pärt and The Ensemble. Justin Graff gets us all in the mood for the notable chamber and vocal group’s weekend performances of the mesmerizing music of Pärt, “one of the world’s greatest living composers.” And in A Pärt Pilgrimage, Graff gets considerably more personal, telling the tale of his journey to Talinn to meet the master, of sharing chocolates,  and a session at the keyboard. All pilgrimages should be so rewarding. The performances: 7 p.m. Saturday at Eugene’s Central Lutheran Church; 4 p.m. Sunday at Portland State University’s Lincoln Recital Hall.

Northwest Dance Project. The Portland ensemble’s newest concert is called Louder Than Words, which might be appropriate, because it’s been raising the roof lately with performances in New York and elsewhere. A new work from the company’s talented resident choreographer, Ihsan Rustem, plus one each from artisitic director Sarah Slipper and Brazilian dancemaker/filmmaker Alex Soares. Newark Theatre, Thursday through Saturday.

 


 

 

ArtsWatch links

 

Wangechi Mutu, “Histology of Different Classes of Uterine Tumors”/Courtesy of PNCA

Wangechi Mutu, “Histology of Different Classes of Uterine Tumors”/Courtesy of PNCA

 

Wangechi Mutu and the revolt of the female form. Grace Kook-Anderson looks at 511 Gallery’s Northwest premiere exhibition of this post-colonial, feminist, New York-via-Nairobi artist. “Mutu’s women are distorted figures, hybrids of animals and natural elements, bodies that are capable of great force,” she writes.

Michelle De Young: heavy going. What happens when a Wagnerian powerhouse of a voice meets an art song in recital? Katie Taylor went to the acclaimed singer’s Friends of Chamber Music concert and found the combination of voice and material sometimes disconcerting.

Oscar nominee Ciro Guerra: an interview. Erik McClanahan talks with the Colombian-born director of the foreign-language nominee Embrace of the Serpent. Bummed that he didn’t haul home an Oscar? “We were kind of relieved we didn’t win,” Guerra said. “There was a favorite going in and it’s great not to be the favorite. It can be a lot of pressure. Even winning can be a lot of pressure. So we just made the best of it and enjoyed it.”

Toxic glory: Heathers: The Musical. Christa Morletti McIntyre takes a look at the ’80s glory that was the cult teen movie, and the new glory of its musical-theater adaptation, which is is getting a slam-bang co-production from Triangle and Staged!

Born to run (and to film): Wim Wenders, continued. Marc Mohan looks at more of the Northwest Film Center’s fascinating series by the German director. This time around: Paris, Texas; Kings of the Road; The American Friend; The State of Things.

In Mulieribus: hours well spent. Bruce Browne celebrates the “happy marriage” at Mt. Angel Abbey of the outstanding choir’s Renaissance music and exquisite projected art from a medieval book of hours.

Last chance: Jacques Rivette’s twelve-hour Out 1. The French New Wave director’s ambitious, audacious, half-a-day opus has rarely been seen in the past forty-five years, but the Northwest Film Center’s been showing it, cut into digestible segments. Marc Mohan pays his respects.

Bullshot Crummond rides again. Lakewood Theatre’s world-premiere production of the latest Crummond comedy, a sequel to a 1970s parody of the old Bullshot Drummond British adventure series, revels in an old-fashioned sort of fun, Christa Morletti McIntyre writes.

Bolai Cao: abundant talent. It was a propitious meeting at Portland Piano International, Jeff Winslow writes – the rising young pianist Bolai Cao performing a new work by the veteran Oregon composer Bryan Johanson, a piece created in homage to Domenico Scarlatti.

Hello, My Name Is Doris: Sally Field talks about her new movie. ArtsWatch’s Marc Mohan chats with the two-time Oscar winner about her latest turn, as a “socially inept, eccentrically clad” office worker who develops a crush on her younger boss. “Some people have called it a love story, but I think it’s a coming of age story,” she says. “The challenge of being a human being is will we open up to every different stage of our life?”

Johanson and Prochaska: media speak. Borrowing from Marshall McLuhan’s famous dictum “the medium is the message,” Paul Sutinen looks at new shows by veteran painter/printmakers George Johanson and Tom Prochaska and declares the medium does matter.

 

Tom Prochaska, "Hillside Nevada," 2016, acrylic on canvas, 16 x 20 inches. Photo: Dan Kvitka

Tom Prochaska, “Hillside Nevada,” 2016, acrylic on canvas, 16 x 20 inches. Photo: Dan Kvitka

 


 

About ArtsWatch Weekly

We send a letter like this every Tuesday to a select group of email subscribers, and also post it weekly on the ArtsWatch home page. In ArtsWatch Weekly, we take a look at stories we’ve covered in the previous week, give early warning of events coming up, and sometimes head off on little arts rambles we don’t include anywhere else. You can read this report here. Or, you can get it delivered weekly to your email inbox, and get a quick look at all the stories you might have missed (we have links galore) and the events you want to add to your calendar. It’s easy to sign up. Just click here, and leave us your name and e-address.

 


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Johanson and Prochaska: Media speak

Painter/printmakers Tom Prochaska and George Johanson allow the medium to help with the message

“The medium is the message,” Marshall McLuhan’s phrase from over 50 years ago seems hackneyed now and we too often skate over its fundamental meaning. Over time the phrase has been most related to mass media, especially television. But in looking at good old-fashioned artworks, the link between medium and meaning is crucial. Painters can make paint important in itself, and there is a difference in meaning between a sculpture in plaster and one in bronze.

With many of the Portland galleries showing printmaking this month, in preparation for the SGCI (Southern Graphics Council International) Conference at the end of March, there is an opportunity to examine the relationship of the variety of print media to the meanings effectively carried by them.  One of the important medium/message aspects of printmaking is that the results tend to be on paper, and we understand them differently from works on canvas. The paper is often beautiful in itself, and we don’t say that of canvas. Also, since most prints have traveled through a press, the artist’s “hand” is not there. There is a different set of choices made. Generally, everything is planned before the paper goes through the press. Everything that might be “spontaneous” happens before the ink hits the paper.

Two shows, right next to each other, at Augen and Froelick Galleries are particularly interesting. Both involve “older” artists, Tom Prochaska at Froelick (through April 2) is 70, George Johanson at Augen (through April 2) is 87. Both utilize old-time printmaking techniques: etching for Prochaska and linoleum cuts for Johanson (linoleum is the modern version of wood blocks, the oldest form of printmaking). Both also show paintings along with a suite of prints and we can see how the choice of medium, painting or printmaking, affects the result. However, the best thing is that there are some compelling artworks, objects for deep looking.

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