Idaho Statesman on SQFT

Image ©Lorna Nakell

This is the final week for SQFT in Portland (click above to see artists). The show, including 50 or so artists, closes this Saturday at the Fishbowl II/Blackfish Gallery (420 NW 9th Ave). After Portland the momentum continues as the show plans to pick up an additional half dozen artists prior to each site in which it lands. The next visit will be to the historical Egyptian Theater in downtown Boise, sponsored by Boise State University Visual Arts Center, opening in mid-November. I will keep you posted on further plans here.

You know, being on the coast (where it was 20-35 degrees cooler) without cellphone/internet connectivity over the last several days was refreshing. I should just turn it all off every other day. Start my own personal (r)evolution. The following days have me installing SQFT at Blackfish Gallery. Don’t forget to peak inside the window on 1st Thursday, the Fishbowl II that is. Then I’m off, taking an 18-hour train ride towards the city by the Bay.

The CAP Art Auction: Last night marked twenty years for this important event, and there was applause, wide smiles, and a few tipsies tossling about as would all be expected! This event elicits so much emotion from participants and patrons alike. Probably because its cause runs so deep and everybody involved truly wants to raise money for Cascade AIDS Project’s services. The event has been referred to as snooty elitist in the local media, artists have complained of having their potential donations rejected, certain galleries have pulled out of support for other similar reasons (fewer PADA members paticipated), some artists (like myself) who have donated several times have neither had their work sold (1 of 5 in 7 years) nor been in either the Live Auction or appeared (other than in name) within the pages of the glossy catalogue. Not surprisingly, my work (below) did not sell in the auction, perhaps because the opening bid was $90 more than the full retail value of the piece? Yet, despite these worthy criticisms and opinions last night seemed quite special in the cavernous annals of the Oregon Convention Center.

The music came alive with several local players and bands, the amazing lil’ knoshes overfloweth provided by some of the top area restaurants and caterers (did you try the crazy cheese bar from Kells, or the sumptious sweets from the Urban Farmer or the “Velvet Painting” mini cupcake from Cupcake Jones?), and of course the wine and spirits overfloweth. Aside from this cultural lubrication how was the quality of the art work on view you ask? Well, this year the proceedings were curated by Rock Hushka of the Tacoma Art Museum. One thing to note, artists generally do not donate their greatest hits outright, and that in combination with one curatorial perspective overall makes for a certain blend. I was told that Hushka selected everything on view, including the Silent Auction items. If that’s the real case my main pet peeve with the CAP Auction organizers continues. It just makes sense (if you expect artists to donate again) that every donated work (even if thumbnail-sized) should be represented in the printed catalogue - and to find ways to make it happen, not excuses for their exclusion (no exceptions, ifs and or buts).

As you might imagine, there was much here which one may categorize as “coastal work” — objects and images that would greatly appeal to the cultural tourist — a central composition of splashy color, and much that would fall into the category of strict craft rather than fine art. Of course, that topic could be warmed over so many times that everything becomes rather homogenized in the end, let’s suffice to say that there were few standouts in the room (and many empty bidding sheets). I spied some pieces that made me look twice (several Hushka singled out as well): Stu Levy, Lorna Nakell, Garrett Price, Laurie Danial, Rachel Denny, Chris Bennett, Sally Finch to name a few. With fewer galleries other art consultants and appraisers stepped up to the plate this year including Stoots Fine Photography and Heidi McBride - as well the Portland Art Museum’s Rental Gallery. Over and above the room was rather nicely lit and well layed out, plenty of room to peruse the food and the art separately. The DJ picked up where the live acts changed over and the central bar made it so the patrons needed to wade their way through the art panels on wheels to reach the watering hole. Smart set up.

Images Courtesy Becca Bernstein’s Facebook

In the end we will see what effects the current economy had on this grande annual event. I had a great time and it was good to see a smattering of familiar faces (less than in years past, however). It was a beautiful night and Rob accompanied me dressed quite spiffily, the house merlot was balanced and overall there was an aire of typical auction curiosity. During the evening I quizzed a few of the Live Auction attendees about what was going on in the adjacent room. As usual there were some generous folk making $25,000 donations in the name of CAP’s programming. At day’s end that’s all that really matters for any fundraiser. In its wake, though, given that the central scope here is art and AIDS, what’s it like at this social intersection? How did we do as a community-at-large? Does the whole thing fit into our times, and/or perhaps even moreso now for some reason? How could this event shift its focal point? Did it seem different to you this year? Did it seem elegant or tacky? One thing is for sure, those amazing, sparkly truffles in passionfruit, blackberry/pink peppercorn and blood orange will be on my tongue and worth speaking about for some time — and when these fine confectioners open their storefront shop on upper SE Belmont later this Summer we wholeheartedly welcome them to the neighborhood!

As always, your suggestions, feedback, light flamethrowers, cheerleading and all are welcome here. I wish to extend a thank you to Cosmos Editions who generously donated framing for my work Capt. (2007-08).