about portfolio reviews unblogged

Archive for October, 2007

Randomization Contagion

Wednesday, October 31st, 2007

Tram-O-LanternThe Tram-O-Lantern says if you haven’t already had the pleasure, why not go ahead and take the Portland Aerial Tram and do it for less than 1/2 price? The trick to get the treat is to take the #8 Trimet bus up to Marquam Hill. Get off at the main OHSU stop and take the tram down. I find the ride down more exhilirating anyhow. Since you only pay on the tram ride into the skies you simply pay $1.75 for the bus trip up the hill instead of the normal $4.00 and still see the sights from the heights. Not recommended for rush hour. After you get down to South Waterfront consider taking in the multidisciplinary art experiences curated by choreographer Linda K. Johnson. Consider it a tip and not a trick.

Aqua MiamiYesterday I had the pleasure of being one of the first folks on the block to see QPCA artist Bryan Schellinger’s new work before it’s shipped off for viewing at Aqua Miami (w/Romo). These works on paper are intricate, multilayered, ornate lil’ fantasies that are expressively detailed and colorful. Quality Pictures will host one of my pieces in their room during the event (more details soon). In the same breath I have decided to make the trip. This’ll be my very first time on Florida soil (er, sand). Should be great people watching, and some interesting art exchanges. Don’t miss German photographer Oliver Boberg at QPCA opening this week, this is by far what I would consider their most anticipated show at the gallery since they swung open their doors last year. My prediction is that this is gonna hit real hard.

Fenixworkshop
Fenixworkshop is having a Grand Opening at their new location at 1007 SW Morrison Street, Downtown (right on the Max). This will take place on Monday, November 5, 5-8PM. See the new digs, check out artwork gracing the walls by myself and Tim Dalbow. During the event, sign up for a class and get 10% off. Learn the Adobe Creative Suite, Dreamweaver, Filemaker Pro and more….

Halloween Pageant @ Miss Pizza
BOO! Don’t miss our fun-filled (spooky) TONIGHT at Mississippi Pizza, the annual event organized by über talented friends Hilary Pfeifer and Leah Hinchcliff. We’ve got a great show for you this year, emceed by yours truly posing as Miss Ann Thrope. I will (dis)grace the stage with so-called witty banter and “nightingale” vocals. It will be worth it if you want to watch me make a complete fool of myself anyway. Though it’s Halloween, this ain’t the Gong Show, please don’t boo me! Though it is very much an embarassing photo op……All dressed up and only so many houses to haunt! One night only folks. :O

At 7:30 is the Wow Wee Zow Wee Shadow Cinema — an all new, short programme of shadow puppets all designed, created, and performed by Tripper Dungan. After that, dance a little to the zydefunkalicious sounds of Voodoo BBQ, a local four-piece band with a big sound that will get you up off of your seats in ten seconds flat. We’re gonna have a dance contest as well as a costume contest. The suggested theme is: come as the “Disney Spinoff Character You’d Like to See” but come as whatever you like just come play with us! Mississippi Pizza is located at 3552 N. Mississippi Ave in Portland. Show starts at 7:30pm and ends around 11pm. > $5 cover

Purple Gloves by TJ Norris
CONTEST: This grouping was randomly sitting alongside SE Stark Street a few doors down from the studio yesterday. It was startlingly comical at first. Like a cartoon cross between a detached Magilla Gorilla meets wayside medical malpractice in the streets - must have been a spooky prank? It’s been a field week of these odd sights. I found a small tile emblazoned with an Indian godlike figure as well - brought it back to the studio for good luck. What do you think is going on in this picture - the most creative answer wins my personalized, but still-in-working-order old 4gig silver iPod Mini - Enjoy! [Winner announced Friday. All spare parts sold separately.]

That’s Random

Monday, October 29th, 2007

The Wire - June 2007
My favorite magazine, The Wire has finally gone dually digital this month. The even more exciting thing is that in doing this they are offering a Free Trial Issue to peruse before you buy. You may notice that in this particular issue that Emmy Hennings review of my triMIX project appears on page 80 at top left. After 25 years of amazing journalism they have really put a face to the underground, truly responding to the most edgy and vibrant music on Earth.

France Joli
Does anyone beside me remember France Joli? I can’t hear you….Well, I do, and have been completely haunted by the memories of ‘79 all day. “Come to me, when your world is empty and cold……” (erp)

A Pink Rosary
On my way to the studio today there in the middle of Water Street lay a strewn set of pink rosary beads. The color was off to me, but I later wondered why. Does color matter when counting prayers? It reminded me of a childhood memory of sitting quietly at an abbey as many veiled ladies murmured on for what seemed to be hours in some strange tongue (Latin). Pink is actually a traditional Italian color for these beads after a moment of research. Seeing these also reminded me of another song, this one from the 90’s called Counting the Rosaries by Book of Love.

DrainAtlanta’s Drain Magazine has just released Cruelty which includes a review I penned earlier this year.

This issue led by Olivier Chow and is dedicated to cruelty and its visualization in art, culture and politics. One of the chief concerns of this issue is the legacy of Abu Ghraib. Abu Ghraib is explored from a variety of angles: through an essay by Adrian Parr which discusses the controversial Abu Ghraib paintings of Gerald Laing. Cruelty and its relation to the state of exception and the work of Giorgio Agamben is discussed by Kim Paice. We are also proud to introduce an analysis of the psychology of cruelty by the French psychoanalyst Dominique Cupa, whose work is here accessible in English for the first time. A review of the work of the Chilean artist Alfredo Jaar discusses his engagement with the traumatic visualization of famine, war and genocide in the Sudan and in Rwanda. The horror vacui themed Drain exhibition Blank is reviewed by TJ Norris. These artists explore a number of themes related to cruelty such as authority, the war in Bosnia, collective violence and video games, the alienation and fragility of the subject in the threatening non-space of hospitals, everyday melancholia mediated by the TV screen.

Matmos Live Today!

Sunday, October 28th, 2007

MatmosShhhh. Just a lil’ secret. The Wire magazine continues to celebrate its 25th Anniversary. Only select people were invited to this online event (those who couldn’t make it to London) as Matmos & Laub will be broadcast live direct from London’s Bush Hall. This takes place tonight, streaming approximately at 8:30 (Pacific) (20:30 BST). Simply tune in by checking this page. I can’t keep a secret.

Two PAM Visits

Saturday, October 27th, 2007

PAM CAC Visit
Today the Contemporary Arts Council of the Portland Art Museum made a visit to our studios. They were an engaged group of about twenty collectors and enthusiasts, asking informed and investigatory questions, looking around at my studio nooks and crannies. I had no script, and it was the first group visit of this sort that I’ve given since being on Oregon soil. It was really invigorating to speak from the point-of-view of a studio arts pro, in terms of being with an audience made up of strangers who are art lovers. Could an artist ask for anything more than to engage a public? It’s certainly one of the biggest highs for me, knowing that someone is walking over your threshold for the very first time. Taking that step, that risk, of getting closer to what you do as a creative, a maker. The dialogue about use of color was interesting as was talking the context of where the work is first sprouted. We also talked about curatorial practice (artists wearing multiple hats, or delivering work that is hybrid), and the concept behind making work informed by place and history. I discussed some influences, and my practice to a certain extent. The group also visited with MK Guth, Sean Healy and John Brodie today. I appreciate a saavy conversation, especially on a particularly lovely October morning. And it already has a residual effect as I sold a new work, as well as being asked to be included in an exhibition in ‘09.

Ann GaleYesterday I took my monthly visit to PAM, though this was just a quick hour. I spent most of the time looking very closely at the Ann Gale show. And though I’m not much of a portraiture fan, this show is totally about looking. And looking. She has a very intimate way her medium and her subject - particularly in the way it informs about light. Her use of greens and yellows says more about the time of day than it does about the tube it came from. The alchemical transposition of paint I’ll call it. And her really remarkable mark making suits these mostly unflattering personages with a rooted sense of fleshy reality. Though the figures seem to all have similar facial features, the bodies and silhouette of selves are very telling as if she sees herself in all the people she paints. There’s a mirror there indeed. And the way she uses the plateau of a room permeates a sense of space as container of those appearing on these canvases. Even though she’s using neutral colors to depict an otherwise plain background. These have a mixed essence of painters Lucien Freud, Francis Bacon and Alice Neel - all sort of blended with a slight hint of Georges Seurat for good measure. It’s a small powerhouse show. Then we somehow breezed through what looks to be an amazingly informative (educational, historic, process) show of prints by Chuck Close. I am going to have to come back to it and spend a good few hours in these galleries alone. Included are plates and die cutters and aquatint samples…I am always fascinated by this stuff, so when I am not on someone’s parking meter I will re-engage. Oh, and there was this big spin-art tapestry Lucas Samaras (I used to love his work). As we walked the halls up to the Ursula von Rydingsvard show there were some obvious changes to what’s currently on view from the collections, so if you haven’t been to the museum in a few months know it is an active entity, like a breathing being. Along the way I was so happy to see the Christian Boltanski work on the lower level, alongside a Wolfgang Laib piece. It’s in a very odd lil’ nook that didn’t allow for the full impact as his work deserves. But for some odd reason I liked the relationship built from the floor to the Laib. A perspective of towering over the work, even at 5′6″. The work appeared as something of an installation motif, but I believe his work stands best in a noir, dark room. Still, it is always a thrill to see his work live in the physical.

von Rydingsvard
And it was well worth the ascension to the fourth floor to see von Rydingsvard. Wow. This was my first exposure to her work. And this is a lady with whom I am dead sure I could have a conversation with. Totally after my heart in terms of using the ominous presence of sculpture (in this case a huge wooden mountainous kinetic piece). The work, while still at first operates via an internal mechanism (kinda like a big toy train) at its top 1/3. The piece produces a sort of domestic repetitive noise that is equally calming and makes you aware of its presence. I guess if you had a big mastiff who cycle snored it may have the same effect. Maybe not, but I hope you get my drift. Anyhow, there were also some accompanying drawings that I glanced over, but they seemed to have similar forms sketched out. The work is reminicent of a cartoon quarry that looks as though it could walk away on its Seussian ‘legs’. A work of fantasy seeming like a larger than life sleeping giant.

BEYOND TREND

Friday, October 26th, 2007

Beyond Trend
BEYOND TREND: How To Innovate An Overdesigned World

My work will be included in this new book by author Matt Mattus. A new international release expected out in Spring by How Design Books. I will be in good company alongside architects Zaha Hadid, Sir Norman Foster and Coop Himmelblau, as well as leading designers Tord Boontje, design firms like London’s Attik, MK12 and Australia’s Rinzen. Other contributors from pop culture are folks like Gary Baseman and Tim Biskup. Should fit snugly on any favorite coffee table nook and provide quite a read.

BEYOND TREND: It’s a whole new world for gifted creatives, and big business is inviting them in. Now that marketers have discovered the value that design brings to their brands, the pressure is cranked on high for creative people to continually deliver the newest looks. With the design world becoming more and more unpredictable, it’s difficult to know what the next big trend will be. Full of visual examples, Beyond Trend comes to the rescue with new ideas for combining influences that will lead to breakthrough designs and new ways of innovating.

Memory Fast Lane

Friday, October 26th, 2007

OregonliveHey reader. Perhaps you are one of the few, the proud, the regulars who saw me through the transition from Livejournal to OregonLive to right here on unBlogged! Well, no more lines or waiting as I was finally able to piece together all of the archives from O-Live into three handy components (sorry the images did not transfer, and forget about recovering those batches). I felt it was important to keep the good word alive somewhere online, as I had a handful of requests and saved it for a rainy day. So, let it pour!!! Since my good word is copywritten under my own name, I re-claimed it for those out there who wanted to reference those pages again. Though it was a days worth off wrap-tapping at the olde (pre-Intel) keyboard - for you it’s as simple as 1 (2005) & 2 (2006, Pt I) & 3 (2006, Pt II).

Yoko Ono on Ebay
You know that Shop Victoriously campaign over at Ebay? Well, I thought it was cheeky, unnnntilllll I was able to score a copy of the ‘92 release of the Onobox!!! This is absolutely essential - and right now I feel mighty real. Well, the long and short of it is I bought a brand-new copy of it (a rare find in ‘03) while in an underground shop in Montreal. My entire luggage was stolen, my camera, clothes, a cache of Terre Thaemlitz Love Bomb(s) and the sacred Onobox. Of course its been on and off Ebay over the years at ridiculous auction prices up to $350 - but I copped mine for $82 (w/shipping included). It’s a treasure that won’t leave my sight (plus I already downloaded the discs “just in case” some fat burglar breaks in for it). Ya see, this was my b-day gift to myself this year. Ahhhhh.

Ink19 [Out of the Blue]

Thursday, October 25th, 2007

ink19triMIX in the News: Just when you thought all potential media attention had laid to rest on this release from last Winter, out comes this one from out of the blue. Ink19’s Bob Ham voices his opinion. Another reviewer from Leicester UK just contacted me this week to review it as well…a small resurgence perhaps? Hey, maybe it would make a nice gift this holiday season? See the Innova page for more info.

Tidbits

Wednesday, October 24th, 2007

Fenway Park Never Looked Like This
The Red Sox will host the World Series at Fenway Park! I’m not sure if y’all know this about me, but my first photography teacher back in high school was the official team photog of the Sox. My former hometown team has really socked it to us over the last years. Though I’m not a baseball fanatic, I’m kinda excited about this.

The Character Ride
The just concluded Today’s Art Festival in The Hague recently hosted The Character Ride which is altogether too weird not to mention here.

Kenny & Zuke’s
Kenny & Zuke’s opened in the Ace Hotel building yesterday. A bagel fan like me wouldn’t miss the op. There are many major cities with Jewish delicatessens, and Portland has a few that may or may not fit the bill. From the onset this one reminds me of the edge you find from Brooklyn to Brookline from Pittburgh to the Bay Area. These guys purportedly cure, pickle and smoke like the best of em, and you can’t beat the convenient location to Powell’s, Living Room Cinemas and most of the Golden Burnside Triangle. They have matzoh ball soup, seven kinds of root beer and the whole nine yards. The place was pleasantly packed for opening day. They are sticklers too. From day one their policy is not to serve sandwiches on their small but dense bagels. That would be fine if the only breads they offer weren’t exclusively the super trad pumpernickel and rye. Well, I, for one won’t be able to get a sandwich here (I can’t eat rye because of dietary restrictions, and pumpernickel is just not in my best taste buds). But the bagel was heavenly.

PhotoLucida
Critical Mass registration is due this Friday by 5PM PST. I will be one of the judges, four years running. This truly is a great opportunity for all contemporary photographers, regionally or internationally. It has given a select few the opportunity to publish a collection of their work, and a solo exhibition. Above all else, it gives many an opportunity to be noticed and viewed by a vast group of professionals in the field.

• • •

Ellen Altfest’s “Butt”I’ll leave you with this new small painting by Bellwether Gallery’s Ellen Altfest that I just got in email form from the London gallery of choice, White Cube. Realism has come full circle. Is sharing still caring?

Bee-Logue

Tuesday, October 23rd, 2007

unblogged
ONE YEAR OLD: Though one year is the paper anniversary to some - here in our collective, paperless blogosphere we have all but spared even the soy ink to bring you a wishing well of endless tedium and other treats. This particular (un)blog, as you can see, now has a two headed mascot (better than one?). Is it because this is the official one year anniversary of this personal blog of culture (and blah-blah-blah)? Well, yeah. And is it because there is something special coming soon to the blog world near you. Yeah, yeah. Is it also because I like to futz with things ’til the cows come home? Make that a triple. More soon on this.

FAQ: Why change the name to ‘unblogged’?

Simon Says: Why not? Though probably just another ‘ism’ it’s a misfit cross between the essence of being “unplugged” and the sensation your pipes get when you fill em up with Drain-O.

Troum
In the meantime, I just received a package from Bremen. My friends Glit[s]ch & Baraka[h] (otherwise known as Troum) sent me a kit of new sounds they are stirring. If you are unfamiliar, but love drone as much as I do, please don’t hesitate to bring one of theirs home. You could probably find something by them (or their former selves as Maeror Tri) at your local specialty music shop (though they are few and far these days). A few years ago I shot a varied series of composite images in industrial Portland. And though I have created artwork for a handful of commercially available CD projects, these gents are using one of my diptychs for an upcoming vinyl release as the entire inner sleeve fold-out! Since I’m often much more involved in the community of experimental music than anything else, this feels like a real homecoming achievement to me. More info will be forthcoming.

Everyday Is Halloween
This was also ‘old home week’ as the moon must be drawing from the past. In less than three days I heard from or saw four old friends who I haven’t connected with for up to 2.5 years! Having a birthday gets you on people’s radar somehow magically. Kent and his partner brought me a pbn’j sandwich one day while I was working, Antonio and I went up to 82nd and ventured for Malaysian food in the new Chinatown - the tamarind fish was delicious. My buddy Todd from Happy Valley called me out of the blue from his farm and wants to get together to catch up. And today I saw my former squeeze Stan who pretty much costumed me for my appearence as MC Miss Ann Thrope at the Halloween Pageant (and Zydefunk Night) at Mississippi Pizza! You heard that right, and if you want to see me make an absolute fool of myself I welcome you to join in the festivities. There will be prizes for the best costume. The theme is “Disney Spin-off Characters We’d Like To See” (I would take that as liberally as you wish). I could use a pair of mouse ears for my costume - though it already has about sixteen parts - so maybe I shouldn’t push it. Anyway - Stan is dear and his garden and yard, which he built by hand is packed with herbs and a huge arbor, a sunken patio in stone and a hot tub. He gets plenty of sun, and much growth. The lemon verbana was out and pungent!

Studio Painting
Oh, and this weekend, jeeeshers, I spent most of Saturday working with my studio colleagues John Brodie, MK Guth, Sean Healy, Stephen Hayes, Blair Saxton-Hill, Angelle and Phil as well as Philip Iosca who lent a hand to help us paint (and paint and paint). Yes, it was that time of the year - we painted nearly the entire common area of Today Art Studios! It was work, muscle, sweat and lots of coverage. But for some reason it seemed to go quite smoothly and everyone seemed to really work as a team - this was the first such group activity since we moved in nearly a year ago. Well worth it with a visit from PAM very soon as well as Prints4PICA coming in December…..Right on team.

After that I dashed out to pick up my copy of Scott’s totally fun in-joke project of the season, The Portland Art Coloring Book. And I think it’s just freaking funny and simple and clever and stupid and all sortsa good things. For $10 those who appear in it can nab a copy (and though we are colleagues, I had no idea about this until the night before he released this). It’s about an inch and a half thick too, so though its low-tech and pretty zine-esque I think it’s a nice “first volume” tribute to a shiteload of contributors to the scene right now (and a few from years past, like Mark Rothko!).

Carport Party A Go Go
Um, the rest of the weekend was pretty damn sleepless and included a party at Rose’s place. Moreso a brisk and misty night by the firepit with heaping portions of bbq meats, mutts, biker memorabilia - all to the repetitious spinning of The Doors on an antique Silvertone. There was also garlic peanut tofu over glass noodles and Ty in his hoodie, seemingly inseparable from his lil’ Nokia. Yes, it was a night of mythic ambiguity. Then came Saturday evening and Dude’s Night Out Carport Party at Jesse Hayward’s place. For an ‘illustrious cast of invited characters’ I must say it was more low key than I would have expected, which was exactly what I needed. Chilled with some mint whiskey punch and some of the best homemade cc cookies I’ve had in years. Nice lengthy chats with a few folks about what they are up to, hanging by the fire. It felt solid, the group dynamic, the camaraderie. Seemed like a cohesive, respectful scene and give Portland so much credit for playing host to many talented folks who can engage in the larger conversation.

boxelderI HATE YOU, YEAH YEAH YEAH: The rest of the weekend was spent battling the elders…the Boxelders that is. Our lil’ treehouse is crazy infested by these stinky (when squished) red underbelly striped bugs. I have become the vacuum master in the process (which was just instinct, but it’s actually recommended). They are trying to make my home theirs, but there will be no vacancies at the inn this season.

Spark It!

Monday, October 22nd, 2007

ArtSpark
Creative Capacity @ Holocene

What’s On Your iPhone?

Sunday, October 21st, 2007

iPhone Now Optimized for unBlogged!
In celebration of the first anniversary of this site, we now have a new logo and are optimized for the ADD generation as “iPhone Ready” (is that a real term?) and from this day forward is officially dubbed unblogged.

iPhone from ijustine on Vimeo.

No Man Is A Three Mile Island

Saturday, October 20th, 2007

Susan Bein’s “No Man is a Three Mile Island”
Portland transplant Susan Bein’s title for her image above makes me smile. The fact that she used my visage reconciles the grounding that we all need at times. Humility is something so foreign to so many. It also made me think of the skies again. As I was watching passing clouds this morning, the whites seemed more like an undulating river than what I saw on Wednesday. Just proves that the world can seem quite upside down at times, though perhaps that’s the infinite reverse. As I kept focus two super high flying fighter jets ripped through the background, almost mocking the geese that were in the very same spot just the other day. Once they were clear from sight (and earshot), a long-winged bird floated gracefully in the foreground.

Debby Harry Koo Koo
The image somehow also oddly enough reminded me of the cover of Debbie Harry’s solo debut.

Tinderbox of Delight

Friday, October 19th, 2007

Calvin Ross Carl Show

Rachel Allen exhibition

Big Foot

Avantika Bawa Show

Scott Wayne Indiana Coloring Book

25 Objects

Harvest Henderson at Ogle

Small A PArty

Gay Double Feature

Cai Guo-Qiang’s “Head On”

Thursday, October 18th, 2007

Cai Guo-Qiang’s “Head On”
Certainly one of the most important artists of our time, Cai Guo-Qiang’s Head On (2006) with its replicas of wolves certainly speaks to yesterday’s topic (thanks Azriel). “With few wolves scattered in the front gallery, all ninety-nine wolves run, gallop, and jump toward the far end of the exhibition hall, where a wall stands. The bravery of the wolves is met head on by the unyielding wall. As the leading wolves go down, many more follow with force and determination. As those in the front fall and pile up, those behind take up their positions.” Kind of reminds me of how I’ve been thinking these days.

Flying South

Wednesday, October 17th, 2007

Geese Flying SouthNot I, but the birds. Yes, so many geese, in formation, flying South as the temps drop some. The weather lately has been active and vibrant. Have you looked up at the skies and seen the amazing cloud forms and the purplish greys meeting the cool puffy whites? In another moment of nostalgia I recalled my days in 3rd or 4th grade doing my presentation on Cumulus and Stratus, Cirrus and the like. It’s been a theater above us. So, when I saw the arrow patterns of those birds I could imagine the weather ahead, as they are much more predictable than the categorically political movement of Daylight Savings Time. Is this the first time it’s fallen in November? Did you know this is something voted on by Congress? Just a thought for the day as I wave goodbye to the birds for the duration.

Mississippi Halloween

Tuesday, October 16th, 2007

Halloween Queen

Savor the Flavor of Memory

Monday, October 15th, 2007

[or Fathers, Lovers + Spare Parts]

Black Raspberry Brings It Back
Last night I had a flashback to the deep past. I may have been six or seven years old. There are two odd things that remind me of my dad, black raspberry ice cream and ABBA. I get plenty of the latter since I live with someone who seemingly has the entire discography, not to mention books and dvds - Including As I Am by Agnetha Fältskog. But the former, that pastel purplish treat is something I rarely engage in as I have suffered from the magic of diverticulosis in the past, the berry. Though, in this form, aside from not being my waistline’s best friend has filtered all the nasty seeds. This treat has its own dimension. And brought back some of my earliest memories of going to Ipswich, MA (world famous clams) to a 50’s-style, old fashioned walk-up window for the homemade variety. It’s funny how certain things spark memory. Of course the other things I remember are him dragging me to the late night betting dog track, the football bookies, trips to Vegas and all that romancing misfortune. But, eh, that was my dad. A post Air Force longshoreman by trade, a galloping gambler by night.

Michael Weir in Nova Scotia 1988Just this week I sent some photo negatives (circa ‘88) to lauded filmmaker friend Thom Fitgerald in Nova Scotia to honor a friend of ours who passed a few years back, Michael Weir. Michael would have been 42 (like me) a few weeks ago (fellow Libras) was one of those truly beautiful men, inside and out. An a/v artist mostly working within the context of film and video. We had a wonderful relationship that year, but over time and miles we fell out of touch. But I held on to a few important items, memorabilia of an impactful time in my life. So I sent along a DVD of never-before seen video footage of Michael and I. Thom may be piecing together a film about his life, a quiet, tea drinking, no-nonsense life as I knew it. I remember Michael driving an old orange VW Bug and smoking, I remember his big waft of sandy blonde hair and his sleepy eyes, I remember dining and cavorting with common friends and the late nights at Silver Spoon (now defunct) hunkering down for dessert. And many other happy times. This is a wonderful thing for Thom to honor him in this way. We miss you Michael. I think you would have truly enjoyed my homage to Yoko Ono.

Onoism: 3 Heads.

Lady Jaye Breyer P-Orridge, RIP

Sunday, October 14th, 2007

Lady Jaye Breyer P-OrridgeA moment of silence will be cast this Sunday afternoon. The news just in (from Brooklyn Vegan) that this very special lady (née Jacqueline Breyer) from the life and trying times of the ever-morphing Psychic TV has left us. This was a very much unexpected passing, as they even just played in the area six weeks ago to little fanfare (due to documented bad management). She, the other half of thee, or s/he, Genesis. This recent piece about them in Last Visible Blog is worth the read. You may recall that just recently I referred to the current goings-on as well as a very special message.

Psychic TV in PortlandFrom their site: “Genesis Breyer P-Orridge and her reactivated Psychic TV aka PTV3 are terribly sad to announce the cancellation of their November North American tour dates. This decision is entirely due to the unexpected passing of band member Lady Jaye Breyer P-Orridge. Lady Jaye died suddenly on Tuesday 9th October 2007 at home in Brooklyn, New York from a previously undiagnosed heart condition which is thought to have been connected with her long-term battle with stomach cancer. Lady Jaye collapsed and died in the arms of her heartbroken “other half”….

Art on (a stack of) Paper

Sunday, October 14th, 2007

CaravaggioIt’s nice to get a spot of solar isn’t it? Thick blue skies, fat wavy clouds gone North, fog broken. Sundays are usually slower than normal. Not this sunny Sunday, however. Looking out my front window, most of the trees are already in advanced stages of transformation, brilliant and multicolored. It’s thrilling to imagine that I am part of the cycle that reprocesses this rich part of the Earth in my work on paper. But today is more about paperwork.

Yes, in front of me I have about nine different types of interesting opportunities shaved down from the hundreds that could potentially apply to my life and career. It’s always a delicate balance to know how to apply for anything. What are the judges, the curators, the adminstrators seeking? How do I fit in? Will I speak my piece or retrofit for someone else’s scope? If you are an artist who is developing a career, you probably know exactly what I mean. Yesterday I was photographed by a magazine for an upcoming feature and the photographer came to do the shoot with me without the writer and without knowing what the story was. I accepted the offer knowing solely that the others in the story were in and around a similar stage in their career (an clectic selection). But without information I am not one to accept anything blindly. My grandmother always referred to me as a child as Doubting Thomas (the associated Caravaggio is so very real to me - it’s all about intimacy and inspection), which was a real term of endearment. She could see that part of me so early on.

So, strewn along my desk are opportunities for a few residencies, donation requests, curatorial ideas, web-based events, a fitness chart, a friend’s plan for a restaurant she plans to open next year (which I am editorializing), tips for working with RAW images, all balancing a calendar of events that reaches into the Spring of ‘09. In ways I have grown to a very flexible space in the way I allow myself to book life in advance. In some cases it has become necessary, in others I have to allow myself to turn down opportunities that don’t fit within a context of time or measure of practice. Those measures are really what are particularly very personal and/or exploratory. So, without further adieu I must close the clamshell case and pick up my red pen.

Hear The Crashing Steel

Saturday, October 13th, 2007

“Feel the steering wheel….warm leatherette burns on your melting flesh, you can see the reflection in the luminescent dash….A tear of petrol is in your eye, the handbrake penetrates your thigh. Quick, let’s make love - before we die….” I love Grace Jones (and The Normal before her). There I said it.

OK, I also admit that I am just in from Amnesia (after dinner at Widmer) where I had a fine pint of porter, but, eh. That’s the way I feel tonight. It was filled with revelers, and some big burly FedEx’rs. I made it home to the fridge where I finished the last piece of birthday cake too. It was still intact and tasty two days later. Upon my return to the homestead I opened a letter from the Portland Art Center declaring that I have been selected for a solo show in ‘08! I was one of seven out of almost 50 submissions. Pinch me. Um, are my fairy godmuthas all tap dancing up there for me, kicking up a stardust storm or what (did you look up in the sky last night)? Things like this come in threes…hmmm, what’s next?

There was more online about Couture as well. If you read my post a few days back, you know I couldn’t agree more. As I walked around to some of the galleries today it was very sweet to receive the kind well wishes from some of our finest local gallerists. The D.E. May show at PDX has a certain elegance and mystique. I like something about Matthew Picton’s show at Pulliam Deffenbaugh, but will require additional viewings to absorb its shadowy and mapped out topographical drawings. Jim Neidhardt and Kerry DavisCrybabys at PAC is a welcome, if offputting, strange environment. Marcy Adzich at Tilt is a melange of objects that make their own internal sense. I was particularly drawn to the undulating wooden propeller at center, but the collection of objects is peculiar, especially the plastic flowers. I’m not too up on the painting style of Kojo Griffin, whose work has changed dramatically over the last few years. His latest is at Quality Pictures. But a sneak peak of Holly Andres‘ work for next month has me very excited!

PS: Oh, yes, and the ballots are in with the results of the Ultimate Blogger….

Oooo Oooo Oooo

Friday, October 12th, 2007

SquiggyNo real reason for the title - I just liked the way the ‘Os’ looked above. The past few days have been steady in addressing all sorts of interesting concerns, from private issues to work-based to studio visits with colleagues. I enjoyed seeing Randell Sims‘ work for the first time, he’s very ambitious for a recent grad of PNCA and you will get to see his near seven footers next month at NAAU. Today I came across both Peter Kreider (who’s showing at Reed right now) and Emily Ginsburg who were each working in and around our studios on projects that required some flex space. Emily has been hard at work since May developing a commission for a Seattle utilities company, several large panels measuring up to 40 feet, it was quite impressive, cryptic, puzzlelike. I took lunch with Christopher Brown today and we had a wonderful chat about the goings-on in the arts community hereabouts, and projects we are each working on. I spent some admin time working on my new portfolio, uploading a few slide registries, completed a grant proposal, reading over guidelines for a residency I am interested in, stopped in at the Portland Art Center for one of the fundraiser panels, and brought in a small handful of works to be framed by my guy E. Gard, who is fantastic. That’s all for now brown cow.

A Tailored Birthday

Wednesday, October 10th, 2007

42 BirthdayToday marks my forty-second year on planet Earth. So why do I feel as if I were bouncing off the wall like a lost satellite? Well, honestly, when NAAU made their announcement for the Couture stipends, I was emotionally taken aback. It was the first time in ages that I cried instantly. Though I am in its stable, I had no particular expectations about being hand-picked for this opportunity. But I graciously accept! And it is an honor to be chosen alongside a rich body of creatives. In my career that spans back to the days of Kajagoogoo (I can’t bear to link the bad hair days), I have never had an opportunity as honestly for real as this. Ruth Ann Brown has really gone out of her way to cordone off an untapped area in the arts these days, the art of patronage (speaking of which, I thought it was curious that this hit the NYTimes today as well). Many of the usual wells have long dried up, and this is way more refreshing than any store bought, triple-filtered water, more like a surprise dive into the coral reefs!

This type of support will certainly be a significant step-up in terms of what I can offer in terms of presentation. And expectations aside, I always plan on going one better with each show I do. Just here I won’t have to scrounge, beg and borrow - or max out my credit card to make it happen. Sorry, but it’s true to a large extent. And the further fact that there will be an accompanying catalogue makes for another significant first for me.

Like many artists, either emerging or with a few decades under their pro-belt, I have a pretty significant stack of rejection letters. So, this stipend serves as notice that sometimes countless efforts pay off in due time. Callouses and a salt and pepper goatee don’t grow overnight, I guess I can imagine them as earned. And that artists are resilient people, coming back year after year, with new work and ideas. Not giving up or turning back. Occasionally someone like Brown stands firm, and doesn’t turn their back, but very much looks very forward. This is my first significant grant on this level, and my first of any kind since moving to Oregon six plus years ago. There is no greater high than when someone recognizes you and believes in a project in which you are engaged, especially when the primary focus veers from specific commercial concerns. And though I have been living near hand-to-mouth over the past year after leaving the life of a full-timer behind, working only odd jobs to pay the studio rent (which has never been late), this bears the fruit of my risk. Though there have been some extremely trying hours, I wouldn’t turn back and change a second. A special callout to all my family who actually read this blog and continue to surprise me through the thick and thin of life as I know it. This is a soulful happy birthday.

POSTSCRIPT: Yesterday I heard from many friends from past and present. Paul posted an iTunes thing and the gift of sweet song is always on my radar. Bryan made me an amazing cake with a orange Cointreau filling and fresh whipped cream and fruit - it was an elegant gesture from quite the chef. Abi called me as she continues to heal. I even got a text from the folks at the Basement Pub asking me to join them - but I was already en route to the super silly new Ben Stiller vehicle, The Heartbreak Kid. Thank you to everyone who thought of me on my high holiday. But then on my way around town I popped in a few quarters for a copy of The O, and there she was, Ruth Ann, on the front page of the Living section. That picture is lovely and haunting, and it was a wow moment. And yes there are always going to be things about stories to dissect, and issues of reputation and ego, et al - but I am not just stoked about the program…I really am impressed with the generosity that is embedded into it. And not only are the projects seemingly of a not particularly commercial nature, they are also going to be NFS which seems very bold for any commercial gallery. That’s a year and a half since she selected 10 projects! That’s $80,000 (plus, with catalogues and admin, etc). Port did a piece on the Couture stipends. And on top of that a magazine in town wants to have me in an upcoming feature. So, as I age like ‘fine wine’ as someone said recently (!!!) the day was quite special.

20 Questions with Abi Spring

Tuesday, October 9th, 2007

Abi 1Q: Abi. Thanks for taking the time to discuss your show with me, despite your recent bicycle accident. How are you doing?

A: I am getting better. Though things are still a bit fuzzy around the edges. If I had one thing to say about the accident: WEAR YOUR HELMET. I would be a candidate for Bodyworld 4 if I hadn’t had mine on.

Q: Well wishes your way. Last year another artist in town, Daniel Duford, also had a similar accident, in which he was hit by a car. You were both in ‘grey|area‘. I can only hope that with increased traffic and population, this bike-friendly town stays true to itself somehow - but minds the gap so to speak.

Into White‘ seems to be a huge step up for you, in terms of scale, and your space/time defying process-orientedness. Can you say what it took to jump start this body of work?

A: There were a lot of things that inspired me to take this step. Part of it came from just asking myself what I wanted to see and experience in art. One thing is that I wanted to create work that filled my visual field. I wanted to be create the sense of expanse. I also wanted the work to be optically stimulating, in some of the ways that OP ART was but without the “hit you over the head” element. I just needed these pieces to be quieter than that. The repetition of small elements over a vast field I have always felt to be calming and exiting at the same time. I never considered the process oriented-ness as an obstacle. It is what I do. I love the process. That doesn’t mean that it isn’t really difficult and boring and hard at times but other times it is just the opposite. It did occur to me though, as I was working on these 8 x 8 foot panels, that applying my ‘process’ on this scale, one of layering many many layers of paint and then sanding them off, was going to be a hell of a lot of work. Of course a lot of what was holding me back from doing this work earlier is the fear of its being un-sellable. That is where I should thank RACC for supporting this project. I had submitted a grant application prior to this one that they rejected, which I realize would have only been an anchor if I had gotten it. This one I got and it served as a great kick in the ass to go in the right direction.

Q: Can you say something about the ambience of work, it’s sheer depth of field and hyper luminosity. Why is white so important to you?

A: Ambience, Depth, Hyper-Luminosity. Yes I can talk about that: without getting too personal, which I think could kind of hold back someone’s experience of the work.

The first piece in the white series, looked white when I put the paint on, ended up looking pretty blue when it was finished, anyway, that piece was titled “white peace.” And without sounding all Christmas-y or anti-war-y (although I certainly am the latter). I felt what I needed and what the work needed was peace, or something like that. So I sort of went about visualizing what that state of semi-transcedence would feel like and how I could paint something that could evoke that feeling. Something sort of like the white light people speak of in near death experiences (and yes I was thinking about this well before I tried to smash my head open like a watermellon on the side walk) or what they experience maybe in nirvana some kind of senseless sense, the lifting off. Of course creating something that exits in that space, something that you haven’t seen or really experienced in anyway visually before took some effort. ( DUH!) There are a few monsterous disasters taking up room in my studio, just waiting for their pumpkin coach to arrive.

Abi 4
Q: In the past you’ve dealth with themes of nature, in a few of the works here I see a nod to Monet’s lily pads. Am I seeing things? Can you talk to the ‘nature’ of the making of this series?

A: Absolutely. Monet, Nature, the kitchen sink. ( no not the kitchen sink) Yes, I think there is definitely some Monet in the pieces from my last series “Water”. He painted water fantasticly. Now there maybe a little more Turner, (but without the sail boats or the sun or … well anything really) I was really interested in patterns from nature. How simular things could build up a somewhat mezmerising field. I love the experience of looking at vast expanses visuall simular things in nature, fields of grass, wind patters in sand, obviously water patterns, cell growth , meanders… it is an amazing place we inhabit… now if we could just keep from blowing it apart… I think in these paintings I got a little further from painting nature and used the brush stroke as if it was a naturely made mark, something I have wanted to do, and held in the back of my mind as what I should be doing for a while but at some point… it is like… well I am not get anywhere painting what I think people will be able to relate to… maybe I should just paint what I need to.

Q: In the past few years you have settled in your new studio space, a big old firehouse under renovations. How influential was your working environment?

A: Well shit. Getting out of a basement where you couldn’t swing a cat, to a space with light and hell you could swing a bunch of cats and some dogs too… Yes it has been fantastic. The renovations…Hell I lived places that didn’t have heat in Colorado, ( or hot water or a kitchen for that matter) So this place seemed like a palace to me when we moved in … but the renovations like insulation, have made a huge difference. I did have to call off the construction at one point though, I needed not to have anyone around so I could focus on the show. (”the swing a cat reference” is from Down by Law the Jim Jarmusch movie in 1986 where the charactor played by Roberto Benigni says that the jail cell is too small to swing a cat. Which is what my studio started to feel like after awhile… and while I am digressing… that was filmed in Louisiana and we had lunch at Roux today… FANTASTIC if you are a meat eater. )

Q: I loved that film (I even have the DVD lying around somewhere). Because there are aspects of your work that is almost subliminally optical, how would you describe some of these pieces to someone who perhaps was blind?

A: I would describe them as being similar to the third taste one gets when one combines complimentary foods…foods that make a third flavor in your mouth things like…xtra sharp cheddar cheese and tart Macintosh apples or in music when two notes harmonize or even interfere.

Abi Spring Into White Install 1

Q: The senses make sense here. You’re a painter who knows something or other about color theory. Would you discuss a bit about your use of opposing, primary or contrasting colors to come up with these highly refined conclusions?

A: Basically I am using relationships between complimentary colors (opposites) and trying to create works were the compliments are the same value. Obviously you can have a much higher saturation yellow with a very low saturation purple and have the values be the same, so I don’t tend to work with primary or even tertiary colors.

Q: There’s something illusory going on. Like a slipstream, a memory, some might even call it a ‘trip’. How important, if at all, is getting across a sense of synesthasia to your general viewer?

A: I hope that I am.

Abi 2
Q: Do you think this particular body of work takes greater inspection than work that is more boldly illustrative or graphic? Say, in the way people pay reverence in pilgramages to the Rothko Chapel in Texas?

A: If you walk into this show and you don’t take a little time you really aren’t going to see anything… except maybe some of the little weird things that I left on the surface to help people focus on it (it is really hard to focus on without these). The colors are too light and the contrast is too small so it takes your eyes a pretty long time to adjust. And as far as the Rothko Chapel goes… I could write about that for ever, I have visited probably 5 times now. Let me tell you… it was worth it… the experience that you have of it on a sunny Houston day is very different than the experience you have when it is cloudy (it is much better in the clouds). You do have to take time to look at this work… That work and Ad Reinhardt’s black paintings I think really make people see work rather than just look at it.

Q: Honestly, the first time I walked into the gallery I completely missed the work, despite the fact that they are two+ times my size. Upon my sophomore viewing my eys adjusted slowly but surely and then I started seeing surprising things. Can I ask - do you care to say anything about your influences that is directly related to the development of ‘Into White’?

A: Direct influences, I think that I probably listed them in the last question and to that list I would have to add Robert Irwin and Agnes Martin. Although I think Martin has been more of an influence in terms of work ethic and philosophy, despite the use of white, we use very dissimilar means to get to dissimilar ends with maybe philosophical similarities. I have to say that in a way these paintings happened because she died. what I mean by that is that it seemed after she died that there was room for more white paintings out there.

Q: How long were you working on the four larger panels?

A: Lets see… 8 months?

Q: That’s studio practice and committment. Are these the largest pieces you’ve made? Are you continuing to work this scale?

A: These are the largest paintings that I have ever made and I hope to keep working this scale, or larger, the technical obstacles will be solved, somehow. That isn’t to say that I won’t do small work. A lot of what I do is color studies on anything from 6 x 6 inch panels on up. I also like to do studies in oil… but don’t tell anyone.

Q: Your secret is safe with all of us.

The concept of making your work, to me, is partly the grande scale possibility, the step up, the no holes barred approach. Your catalogue for the show goes deeply into the behind-the-scenes making of the work, the process. But beyond process, after mixing and grinding and applying, sanding, etc. does this greater sense of muscle power and physicality say something about the nature of being a female artist? Or are we light years past the gender premise of having to plant your own freak flag in order to gain any deserved respect?

A: I think my mother planted the freak flag for me so that there hasn’t been much of an issue as far as proving anything, and like my mom, I am intensely physical from rock climbing to biking to skiing, I am generally hanging with the guys, like she did. In my house my mother was the one who fixed things, used hammers and screw drivers and stuff, my dad liked to read…So I think that the physicality of this work come more from just being who I am (I am a big gal), who likes to crash around. I also think the no hold bars comes from have repeated existential crisis. But do I think that there is discrimination in the art world? Yes, I do.

Q: Well, since you brought it up, this is certainly museum work. What do you think?

A: Well it certainly needs large spaces to show it. If that space is in a museum, cool, if it is in the middle of the desert, and people can see it, that is cool to. Obviously I would be thilled if a museum wanted to show it.

Q: While staring into one of the pieces I started to notice aspects that were reminiscent of photography and printing. If you remember, before digital printing, there was paste-up, rubylith and blue lines. For me there was something about that in the work. Since the work is abstract and minimal in nature, do you think about how a painting could be perceived in terms of other media?

A: You know I don’t think I do, to me the history, the record of how the piece is made, complete with all its little defects is too important to represent photographically. Perhaps I would tend to go the other direction into sculpture.

Abi 3
Q: What gets you through the making of your work? Perhaps a favorite quote, makes sense when you are deep in the process?

A: I think I end up meditating. I got to the point where I wasn’t listening to the radio or any music and just working…The process making all these repetitive marks, created a lot of space for things, memories and ideas to wander in, (and a lot of them were kind of crappy), so at first I would feel like I was painting over things, and then I felt like I was letting go of things as I was painting.

Q: Now that you have been here in the Pacific Northwest for a half dozen years or so, how have things changed for you in your studio practice as opposed to the way you may have worked in either the Southwest or Northeast?

A: I am neither too hot or too cold, but just right, as Goldilocks would say.

Q: Are you hoping to show works like this outside the area, perhaps in university, museum or other academic settings? Do you have any prospects?

A: I was tempted to answer this in some kind of sarcastic way making a joke that yes I was having a show at Yale or something, but in fact I don’t have any plans and the accident has sort of put any plan making on the shelf for a little while. I am going to be writing some grants and pitching proposals at people though as soon as I can think straight.

Q: Breath.

This was your second solo show at Chambers in Portland. What has your experience been working with them? I know they do not officially represent artists per se, but can you say something about the history of your relationship with the space and/or how it was important to show this particular body of work there?

A: Chambers is really relaxed. That has its pluses (and some minuses like having to buy your own light bulbs) but the big plus of it is that you get a lot of control about where things go and how they look - and Wid and Sika are great.

Q: Well, thanks for being so generous with your time. This is where I hand you the open mic for the last word…..

A: Thank you TJ. You were the first art person that I met here and you have been a great supporter, inspiration and sharer of ideas.

Abi Spring Into White Install 2

• • •

Abi Spring
’s Into White at Chambers Fine Art is open through this Saturday, October 13 (Wednesday through Saturday, 12-6PM).

Fenixworks Moves Downtown!

Monday, October 8th, 2007

Fenixworks Now in Downtown Portland
Paul’s Fenixworkshop is now right smack dab in the center of everything at 1007 SW Morrison, which is across the street from Smart Park, the India House, a few doors down from Ray’s Ragtime and more importantly at the intersection of the Max and the Portland Streetcar! If your plans have you needing a project done in Dreamweaver, Photoshop, Filemaker - they offer small classes and a common sense approach to technical training. They helped me get this site up and running, and you can’t stop me now…..

Seeing is Believing in Double Vision

Saturday, October 6th, 2007

Aviator by Rose Willow McCormickThese weeks have been filled to the virtual periphery. After seeing Rose McCormick’s show Americana at NAAU last night my mind floated back a bit. Back in time, with this odd sense of recontextualized nostalgia. The works have this immediate ‘classic’ feel to them upon close study, the subtle surrealities start to bleed through to the edges. The repeating John Henry figure, the spotted coloration, while dually inferring both Mondrian and Baselitz in the same breath here and there. The employment of egg tempera on linen gauges the entire show with an overall aged mystique. This is McCormick’s first completely tight show where the work draws from its components fluidly. Unlike past endeavors where she sort of exposed her ability to paint in x number of styles (and she’s good at many), here there is complete cohesion. Her black figure outlines have an illustrative characteristic, while allowing underpainting to pass through, with characters that dominate and float within the short depth of field in these delightful figurative meet abstract colorfield cross-sectionals.

While fully lyrical, pieces like John Henry (Sweat) and Troubadour maintain a certain menacing gaze from the central figure. Throughout the show McCormick curiously paints wooden objects like guitars, tree stumps, axes. The metaphor for building something and deconstructing it is as plain as day. This is also quoted in the piece with the power here, Aviator, both in terms of application of color as light, and the playing card like composition. The stance of the opposing characters has the instant rigidity of any number of iconic works by the German Expressionist Max Beckmann. In this way the geometric figures merge like a right angle on edge. In this relationship of the inner/outer self, one can play with the artist’s own drifting dreams of afterlife beyond the clouds. The androgynous character, could it be the trouser-wearing, square shouldered Amelia Earhart? One thing is outwardly implied, the silhouette is far from a self portrait of the fine-lined McCormick, though perceptions are sometimes incendiary. This show projects the growth of an emerging artist who has found a style, based in questioning histories with a sensitive reverence to its subject matter and all the assumptions that go along with it.

• • •

Kelly Rauer’s Fill Me UpElsewhere in town I managed to stop by to see Rhoda London’s Construct/Reconstruct (open Friday and Saturdays 12-5PM). Don’t miss this group show, it enlivens this bulky space for the first time in three or four years, making the best use of it I have seen. The strongest works in the show are by the Portland Art Center’s Kelly Rauer and Horatio Law. Rauer’s 20′+ long wall piece, Fill Me Up, with its deflated pink balloons is installed like some obscure silent sound piece. The pop color is muted by the tone of its presence, long and flaccid, perfectly aligned in harmony. It brings a sense of intimacy to a work of scale at eye level. Rauer has imprinted unreadable calligraphies on the balloons which are like secret messages to a breathy mystery lover. Law’s piece, which he workshopped first during a residency in Tennessee last year is from The all-Americans series. His double projection, sound installation that uses the American flag in close-up, simply flapping in the wind is at once austere and powerful. This comes from questioning its mere presence as a symbol during wartime. It’s comment on lapsed, or adrift patriotism is adroitly punctuated by the silences made between the sounds in mid air. The video captures silhouettes of passers-by in the actual installation and references their distorted autonomy, ambient invisibility, and correlates to a sense of descension of those disenchanted among us. The invisible voice of the faceless masses of people. Other interesting and fine works are on view by Seth Nehil (fabric banners w/broken drawing), John Brodie (big bobbly unusual shapes), Scott Wayne Indiana (a lovely burnt stack of wood), Liz Obert (collectible junk + video), James Jack (saturated and minimal black walnut ink) and some new pieces by Josh Arseneau that are quite different from what he’s shown in the past - and the man can draw!

Abi Spring’s Into WhiteI also got out to see good shows by Gwen Davidson at Froelick (paper collages), Tom Cramer at Laura Russo (painted wood carvings) and the sneak peak of some great Chuck Close prints at Augen before the two-floors opened up at the PAM. Close has such a strong face, maybe it’s the glasses? The paper pulp pieces were my favorite. This marks the final weeks for Abi Spring’s daunting Into White at Chambers through 10/13, these works are larger than life, and some might argue brighter than white in light. After her recent bicycle accident, she is slowly healing at home. Much tlc and well wishes go her way right now!