Friday, August 26, 2011
"if the Bush years are over why are we still in such a mess"
mixed media on canvas
New Brow of Portland is curated by artist Chris Haberman
NEW BROW is a new defining term (from Europe of course) to define art of the “outsider” or “low brow” nature, for the next generation. These terms, outsider and low brow, are a bit demeaning in juxtaposition to the gallery world, and the “fine art” made in these areas today, especially in Portland, in comic realms, poster art, tattooing, paintings, and fine art, are very much a skilled effort, or a NEW BROW approach to art, versus the Old World definition of “Outsider” - art made by the insane. Although, still within the realm of “edgy”, this form of pop-art defines our world, and these are some of Portland’s best, and definitely my favorites of our city.” -
—Chris Haberman, curator
The Portland Center for the Performing Arts and Chris Haberman featuring pieces from 50 local artists who are contributing to a new kind of art form by challenging the old conceptions of art as dated and limiting and creating a new class of emerging alternative artists.
"New Brow" art is a re purposing of the terms "outsider" and "low brow," which originally signified lesser art forms and now includes comic art, street art, paintings, skate art, fine art, poster art recycle art, collage and assemblage allowing for a more cutting edge approach to art as we knew it.
This type of art has been developing in a rambunctious underground art scene that has all of a sudden gained notoriety and has been displayed even in museum shows such as the MOCA. It finally gained national recognition as a serious new art practice and countless installations have found big audiences worldwide.
New Brow of Portland is curated by artist Chris Haberman
New Brow of Portland 2nd annual show
Once again Chris Haberman and Jason Brown are pulling together 50 Portland artists for this wonderful show at the Performing Arts Center and I am pleased to be included. Opening 5pm-9pm Art Bar at the Performing Arts Center Sept 1st, 2011
The Portland Center for the Performing Arts is the region's premier performing arts venue management organization.
Thursday, August 25, 2011
Sunday, August 21, 2011
art is the guaranty of sanity
the shape of the problem
Elizabeth Leach Gallery 30th anniversary at PNCA Phillip Feldman Gallery
“There can be plenty of cinema and interesting characters if you pay attention.” –Bill McCullough
Artist Bill McCullough’s vivid color series, “Technicolor Life,” explores the ritual of weddings in the United States. McCullough is a professional photographer who has had unfettered access to the personalities and pageantry of wedding celebrations. His unique style emphasizes the mysterious, more ambiguous side of this phenomenon of modern American life.
“My background is rooted in science and music, which has created in me a deep understanding of patterns and rhythm. I view scenes as giant kinetic events; in that compressed atmosphere, I am constantly moving because time is finite and the number of interesting situations seemingly infinite. I strive for a pure approach to photography, letting moments play out without my interference. My idea of a great photograph is one that transcends its context and allows for many different interpretations. My intent is not to compartmentalize life and art, but to find some space that links the two together.”
“The subject of public housing, its sudden eradication, and its significance to the history of race and class issues in the U.S., though fascinating, is beyond the reach of photography.” –Paul D’Amato
In 2003, artist Paul D’Amato began photographing three public housing projects on Chicago’s near west side: Rockwell Gardens, Henry Horner, and Cabrini-Green. “We Shall,” as a much larger portfolio, is dominated by pictures of the area’s residents. These portraits are taken from a close, but not intimate, middle distance and feature the direct gaze of subjects who seem open yet guarded. Their expressions register somewhere between resistance and resignation, as intense and complicated as their situation.
“As a photographer my strategy is to make photographs that insist on the significance of the person standing in front of the camera. . . The pictures have to be specific and equal to the uniqueness of the individual pictured. This requires a certain kind of performative achievement by both my subject and myself. We have to act, pretend even, that our common humanity is far greater than differences in ethnicity, class, education, age, and gende
Blue Sky is a nonprofit exhibition space and community research center dedicated to educating the public about photography through exhibitions, public programs, and publications.
Founded as the Oregon Center for the Photographic Arts by a group of five young photographers in 1975, Blue Sky became an established venue for local photography. Over the course of three decades, the organization expanded its offerings to include national and international artists, many of whom exhibited at Blue Sky early in their careers.
Blue Sky’s special mission continues to be the exhibition of emerging and established artists that exemplify the finest in photographic vision and innovation. As such, Blue Sky has earned the accolade as having “the best record of discovering new photographers of any artists’ space in the country.”
Today, from a 3,700-square-foot facility in Portland’s historic DeSoto Building, Blue Sky presents between 20 and 30 exhibitions annually and offers monthly artist talks and programs, all free to the public.
A highly prolific multidisciplinary artist, Rick Bartow’s three decade career has shown him to be a sculptor, painter, printmaker, musician and storyteller of the highest order, Coyote’s Road finds the artist using a pantheon of creatures- bears, coyotes, birds, fish, bull men- to approach themes of mortality, longevity and healing. Bartow employs the metaphor of walking a great distance to represent long life; the foot is a recurring image, suggesting ritual dance, connection to the land and the simple but important act of carrying oneself.
Central to the exhibit is the monumental sculpture Bear Mother Dancing on Ignorance/Fear, which stands at nearly ten feet tall and is carved from the wood of a tree harvested from the University of Oregon campus. The bear’s angled face is reminiscent of Kabuki theatre; pointed, pencil-like bristles form a halo around her head and shoulders; many hand shapes play over her torso, as if of those in her care; her anthropomorphic feet tread upon a skull and bones- the titular plagues. Says Bartow: “The image of the bear made herself known to me years ago but recently appeared in the tall book end maple planks, begging to be reawakened once more as a symbol for protective motherhood and as a symbol of medicine and ancient doctoring.”
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