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This exhibit draws connections between the socially engaged art of the 1970s up until present day.
The artists featured produce work that aims to expose and highlight labor practices that have been historically and systematically concealed from the public sphere. Working across a wide variety of media and using a range of conceptual approaches, the eight artists exhibited seek to explore that which is often hidden just under the surface or kept at arm’s length: the physical, emotional, and intellectual labor that is vital to the smooth and ongoing function of innumerable aspects of our everyday lives.
The spaces created within the paintings are informed by the colors, shapes, and lines found in the artist’s experiences with architecture, graphic design, sports, commercial painting, graffiti removal, public transit, Google Maps, American freight trains, and the nuances and limitations of digital drawing.
The exhibition title “Las Vegas Ikebana,” is derived from a concept that the artists developed in the late ’80s that drew from Hassinger’s experience working in a flower shop in Los Angeles and Nengudi’s exploration of Japanese aesthetic forms. The phrase “Las Vegas Ikebana,” was privately exchanged between Hassinger and Nengudi to describe and catalyze many of their creative expressions for years to come.
The School of Art + Design and the College of the Arts celebrate the eleventh year of the Arlene Schnitzer Visual Arts Prize at Portland State University. The 2023 award winners include: Ashley Yang-Thompson (MFA candidate in Studio Practice), Ash Kukuzke (BFA candidate in Graphic Design), and Mohabbat Khatibnia-Mansouri (BFA in Art Practice, ‘23).
New paintings and framed prints on paper, original paintings, canvas giclee reproductions, and cards on sale during First Friday in the Williams/Vancouver District.
Mending consists of two series of paintings, in which domestic spaces and “landscapes” are painted in vibrant colors and naive rendering. Throughout the work color is a driving force that claims its own confidence, allowing the otherwise hidden mundanity to perform.
Sound and video installation illustrating narratives of an ancient past while hinting at future ways of being–a retelling championing hybridity and connectivity.
Work by past and current gallery staff. Many employees working in the arts are artists themselves. This exhibition spotlights PDX staff's talent, vision, and creativity—presenting the work that is made when our work at the gallery is done for the day.
This exhibition includes a selection of work that has never been exhibited and spans the artist’s impressive career, from 1990 to 2020.
Two new bodies of work were created meticulously with colored pencils on black paper. One series references the cosmos while the other is sourced from the digital world. Both speak to how these abstract realms are tangibly present in our everyday lives.
Celebrating our 10th Alembic Resident Artist cohort, in residence since June 2023, Performance Works NorthWest presents dance and performance by JmeJames Antonick + Patsy Morris, Katherine Longstreth, and Emma Lutz-HIggins.
Wood’s work often employs densely packed lines and overlaying patterns that evoke a sense of vibration within an abstracted image field.
Playful, nostalgic, and also bittersweet paintings of everyday ephemeral happenings using a saturated, complementary color palette.
Nagai and Wyatt's work features highly textured, abstracted landscapes where temporal forms come into and out of view, like the shape-shifting of clouds in the sky or seeing a rabbit on the moon. Both artists engage in meditative or trance-like processes of repetitive mark-making.
A large-scale, site-specific sculptural landscape that delves into the concept of the pile as a metaphor for family.
Marking a shift from abstraction to representational depiction, Ivy-Royal’s new paintings function as daily documentation, and spaces for (and of) reflection. They are visual accounts of the poetry within random, mundane, and overlooked moments - holding them as sacred.
Highlights the curious capacity domestic spaces have for holding the echoes of lives lived, depicted through sculptural expanded paintings with archetypal images of life cycles and renewal.
Employing her skills of combining color and mark-making, Hunter | depicts an emotionally charged response to the Pacific Northwest. Under surfaces that are heavily worked, there is a narrative that evokes human connection.