Will Vinton

2018: A roller-coaster arts ride

Baby 2019's raring to get rolling. But first, a stroll down memory lane with Old Man 2018 and his slings and arrows of outrageous fortune.

Well, that was the year that was, wasn’t it? Old Man 2018 limps out of the limelight with a thousand scars, a thousand accomplishments, and a whole lot of who-knows-what. The new kid on the block, Baby 2019, arrives fit and sassy, eager to get rolling and make her mark. She’s got big plans, and the ballgame’s hers to win, lose, or draw.

New kid on the block: 2019 rolls into the picture, fit and sassy and ready to start fresh. (Claude Monet, “Jean Monet on His Hobby Horse,” 1872, oil on canvas, Metropolitan Museum of Art, New York.)

On the Oregon arts and cultural scene, 2018 entered the game with similar high hopes and then handled a lot of unexpected disruption, holding his ground and even making a few gains even as his hair grew thin and gray. He can retire with his head held high, if he’s not too busy shaking it from side to side over the things he’s seen.

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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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Will Vinton, 1947-2018: An Appreciation

A look back at the career of the Oscar-winning Oregonian filmmaker and master of stop-motion animation, who has died at 70.

The innovative Portland filmmaker Will Vinton, best known for his iconic work with stop-motion animation, died on Thursday, October 5, at the age of 70, following a 12-year battle with multiple myeloma. Vinton was the first Oregonian to win an Oscar, and his company, Will Vinton Studios, served as a laboratory, training ground, and creativity magnet for a generation of Portland artists. His legacy survives today in the form of Laika Studios, which has taken stop-motion work to new technological and commercial heights, though not without some controversy along the way. I never had a chance to meet Vinton more than in passing, but if the testimonials and condolences that have emerged over the last few days are anything to go by, his was a genuinely generous soul. His bald head, bushy handlebar mustache, and twinkling eyes denoted a spirit that was independent, mischievous, and bold, even while working in the potentially stifling world of corporate advertising.

Will Vinton in 2017. Photo: K.B. Dixon.

The individual personalities of each of the California Raisins, the in-your-face anarchy of The Noid, and the wistful moments of confused awe experienced by the drunk museum-goer in “Closed Mondays” all seem to stem from an aspect of Vinton himself. Even after his creations became nationwide obsessions, and when his company’s landmark headquarters in Northwest Portland buzzed with activity, there was always the feeling that the work that emerged sprang, at its core, from one especially fertile brain. Needless to say, that’s not the impression one gets, for better or for worse, from the vast majority of the animation on movie screens today. (Television may be another matter.)

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In the Frame: Eleven Men

In photographic portraits, K.B. Dixon captures the essence in black and white of eleven people who've helped shape Portland's creative soul

Essay and photographs by K.B. DIXON

A good picture tells a story, and nothing tells a story better—more eloquently, more efficiently—than the human face. The story these eleven faces tell, in part, is Portland’s. These are talented and dedicated people who have contributed in significant ways to the character and culture of this city, people whose legacies are destined to be part of our cultural history.

Why eleven? Why not? It is the atomic number of sodium, the number of players on a football team, the number of thumb keys on a bassoon. I am a retentive sort with a bias in favor of symmetry who prefers numbers that divide evenly by two. I thought I would challenge myself. If the helping professions are to be believed, it is a way for one to grow.

With each portrait it has been my hope to produce first a decent photograph—a truthful record, one that honors the unique strength of the medium; but I have also sought to produce a photograph that is more than just a simple statement of fact, one that preserves for myself and others a brief glimpse of the being behind the image, one that presents a feeling as well as a form.

Soon I hope to be doing portraits of eleven Portland women. I have written to the President & CEO of one of our major cultural institutions, but she has not gotten back to me. Ms X, if you’re listening…. The portraits will be black & white, casual, available light, and done, ideally, in your office or work space. (My style is pretty straightforward as you can see—a nondenominational mix of street, fine art, and documentary photography.) Time, I know, is always an issue so I try to keep the intrusion to a minimum—30 minutes or so. Please let me know if you would be interested. We could set up a shoot at your convenience.

 


 

Will Vinton

Oscar-winning filmmaker. Vinton was a pioneer in stop-action animation. He is the head of Vinton Entertainment.

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