ArtSlant - Recently added en-us 40 - Portland Art Museum - June 27th - January 3rd, 2016 <p style="text-align: justify;">Ansel Adams, Paul Strand, and Edward Weston and his son Brett each produced significant, limited-edition portfolios for the mid-20th century&rsquo;s burgeoning photography market, while Minor White assembled &ldquo;sequences&rdquo;&mdash;painstakingly assembled and periodically reworked groupings of photographs. FOTOFOLIO brings together four portfolios and one sequence in a single exhibition, charting each artist&rsquo;s motivations surrounding image selection, production, and order. These complete portfolios and sequence, displayed as originally assembled, encourage visitors to experience the photographic suites in their entirety and discover new relationships among the works.</p> <p style="text-align: justify;"><em>FOTOFOLIO is organized by the Portland Art Museum and curated by Julia Dolan, Ph.D., The Minor White Curator of Photography.</em></p> Fri, 31 Jul 2015 06:41:02 +0000 - Portland Art Museum - November 1st, 2014 - October 18th <p style="text-align: justify;">Among the great ceramic traditions of the world, the Japanese alone sustain a thriving studio potter industry. More than 10,000 Japanese potters make a living crafting tea bowls, sak&eacute; bottles, flower vases, and tableware. Whether crafted of unglazed stoneware or refined porcelain, these intimately scaled art works are a cherished part of daily life in Japan.</p> <p style="text-align: justify;">Contemporary masters of clay art in Japan are deeply aware of their traditions in thrown, hand-built, carved or molded forms; they celebrate a reverence for the unique qualities of the material and embrace the unpredictability of the firing process. Wares by Nakazato Takashi and Yoshida Yukihiko, both potters in their late seventies, exemplify the best of Japan&rsquo;s enduring taste for&nbsp;<em>wabi-sabi</em>, an austere simplicity infused with emotional depth. Other artists, consciously working within global idioms, stretch the boundaries of utility to explore ever more sculptural forms, as in Hoshino Satoru&rsquo;s writhing, organic&nbsp;<em>Spring Snow No. 12</em>, or the frozen motion of Fujikasa Satoko&rsquo;s&nbsp;<em>Flow #1</em>.</p> <p style="text-align: justify;"><em>Contemporary Japanese Clay</em>&nbsp;celebrates artistic innovation and superb craftsmanship in Japanese ceramics from the 1950s to the present, revealing the growth of the Museum&rsquo;s holdings in this fascinating art form.</p> <p style="text-align: justify;"><em>Organized by the Portland Art Museum and curated by Maribeth Graybill, Ph.D., The Arlene and Harold Schnitzer Curator of Asian Art.</em></p> Fri, 31 Jul 2015 06:38:40 +0000 David Hockney - Portland Art Museum - April 18th - August 2nd <p style="text-align: justify;">This spring, the Museum is proud to partner with the Portland Opera and the David Hockney Foundation to present&nbsp;<em>David Hockney: A Rake&rsquo;s Progress</em>. Hockney, one of the most significant artists of our generation, has long engaged with the paintings and engravings of 18th-century English artist William Hogarth. Hockney was particularly captivated by Hogarth&rsquo;s series&nbsp;<em>The Rake&rsquo;s Progress</em>, 1733, which chronicles the rise and fall of Tom Rakewell, the son and heir of a rich merchant, who squanders his money on luxurious living, prostitution, and gambling. After a trip to New York, Hockney produced his own interpretation of the story. Hockney&rsquo;s&nbsp;<em>A Rake&rsquo;s Progress</em>&nbsp;was published as a portfolio of 16 etchings in 1963 and is considered one of the high points of his early career.</p> <p style="text-align: justify;">In 1975, Hockney collaborated with director John Cox to create a new production of Igor Stravinsky&rsquo;s opera based on Hogarth&rsquo;s&nbsp;<em>The Rake&rsquo;s Progress</em>. Hockney drew inspiration from the 18th-century master&rsquo;s engravings, endowing the set designs and costumes with a linearity that speaks not only to the language of prints, but also to the modern angularity of Stravinsky&rsquo;s score. The result is both playful and rigorous, a perfect blend of the aural and visual.</p> <p style="text-align: justify;">The exhibition is an exciting look into Hockney&rsquo;s creative process. It will feature etchings, drawings, models, and watercolors that depict the 1975 opera&rsquo;s set design from initial idea to final concept, offering a rare glimpse into working methods of one of England&rsquo;s finest living artists.</p> <p style="text-align: justify;">The exhibition of this work is complemented by&nbsp;<a href="" target="_blank">the Portland Opera&rsquo;s production of&nbsp;<em>The Rake&rsquo;s Progress</em></a>&nbsp;on June 11, 12, and 14, 2015, featuring Hockney&rsquo;s celebrated scenic and costume designs.</p> <p style="text-align: justify;"><em>Organized by the Portland Art Museum and curated by Mary Weaver Chapin, Ph.D., Curator of Graphic Arts, in cooperation with the David Hockney Foundation.</em></p> <div class="exhibition-sponsors"> <h2 style="text-align: justify;">SPONSORS:</h2> <p style="text-align: justify;">This exhibition is supported in part by The Boeing Company, Mary Chomenko Hinckley and Greg Hinckley, and the Vivian and Gordon Gilkey Endowment for Graphic Arts.</p> </div> Fri, 31 Jul 2015 06:37:30 +0000 Ai Weiwei - Portland Art Museum - May 23rd - September 13th <p style="text-align: justify;">The Museum is pleased to present an exhibition of&nbsp;<em>Ai Weiwei&rsquo;s Circle of Animals/Zodiac Heads: Gold (2010)</em>, on view this summer in the Arlene and Harold Schnitzer Sculpture Court.</p> <p style="text-align: justify;">The installation consists of a dozen gilded bronze sculptures representing the animal symbols from the traditional Chinese zodiac.<br />The artist drew inspiration for the 12 heads from those originally located at Yuanming Yuan (Old Summer Palace), an imperial retreat of palaces and European-style gardens built outside of Beijing in the 18th and 19th centuries by Emperor Qianlong. Designed and engineered by two European Jesuits, Giuseppe Castiglione and Michel Benoit, the heads originally functioned as an ornate fountain clock that would spout water at two-hour intervals.</p> <p style="text-align: justify;">Once accessible only to the elite of 18th-century Chinese society, the garden was destroyed and looted by Anglo-French troops in 1860 during the Second Opium War, displacing the original zodiac heads. The seven heads known to exist (Monkey, Pig, Rat, Ox, Tiger, Rabbit, and Horse) have all been returned to China.&nbsp;<em>Circle of Animals/ Zodiac Heads: Gold</em>&nbsp;engages issues of looting, repatriation, and cultural heritage while expanding upon ongoing themes in Ai&rsquo;s work of the &ldquo;fake&rdquo; and &ldquo;copy&rdquo; in relation to the original.</p> <p style="text-align: justify;">Ai Weiwei (born 1957, Beijing, China) is a renowned contemporary artist, architectural designer, and social activist who employs a wide range of media. He has been openly critical of the Chinese government&rsquo;s stance on democracy and record of human rights violations, investigated government corruption and coverups, and was held for 81 days at an undisclosed location in 2011. According to the Chinese Foreign Ministry, he is currently prohibited from leaving China without permission.</p> <p style="text-align: justify;"><em>Ai Weiwei&rsquo;s Circle of Animals/Zodiac Heads</em>&nbsp;collection consists of two series: Bronze and Gold. The installation on view at the Portland Art Museum is one of eight smaller gilded editions, intended for interior display. Another series was produced as large-size in bronze, almost 10 feet high and intended for outdoor display.</p> <p style="text-align: justify;">&ldquo;We&rsquo;re delighted to present this important work by one of the world&rsquo;s leading contemporary artists,&rdquo; said Brian Ferriso, The Marilyn H. and<br />Dr. Robert B. Pamplin Jr. Director. &ldquo;Ai Weiwei&rsquo;s&nbsp;<em>Circle of Animals</em>&nbsp;reflects the Museum&rsquo;s commitment to the art of today, and it furthers our mission of bringing the world to Oregon. Ai Weiwei&rsquo;s work reveals layers of history while bringing attention to current economic, political and collecting issues.&rdquo;</p> <p style="text-align: justify;"><em>Circle of Animals/Zodiac Heads: Gold&nbsp;</em>builds on a strong run of contemporary art exhibitions at the Portland Art Museum. In 2014, the Portland Art Museum was the first museum in North America to exhibit Richard Mosse&rsquo;s groundbreaking installation,&nbsp;<a title="The Enclave" href="" target="_blank"><em>The Enclave</em></a>.&nbsp;Recent exhibitions in the Contemporary Art Series funded by the Miller Meigs Endowment for Contemporary Art have focused on&nbsp;significant artists including&nbsp;<a title="Mike Kelley" href="" target="_blank">Mike Kelley</a>&nbsp;(2012),&nbsp;<a title="Cindy Sherman" href="" target="_blank">Cindy Sherman</a>&nbsp;(2012),&nbsp;<a title="Sherrie Levine" href="" target="_blank">Sherrie Levine</a>(2013), and&nbsp;<a title="Joel Shapiro" href="" target="_blank">Joel Shapiro</a>&nbsp;(2014).</p> <p style="text-align: justify;"><em>This exhibition is presented at the Portland Art Museum courtesy of Heather James Fine Art, and curated by Brian J. Ferriso, The Marilyn H. and Dr. Robert B. Pamplin Jr. Director.</em></p> <div class="exhibition-sponsors"> <h2 style="text-align: justify;">SPONSORS:</h2> <p style="text-align: justify;">Heather Sacre and James Carona, Miller Meigs Endowment for Contemporary Art, Bonnie Serkin and Will Emery, Jim and Susan Winkler, The Paul G. Allen Family Foundation, and the Exhibition Series Sponsors.</p> </div> Fri, 31 Jul 2015 06:35:25 +0000 - Portland Art Museum - June 13th - September 13th Fri, 31 Jul 2015 06:33:28 +0000 Margie Livingston - Portland Art Museum - July 25th - November 15th <p style="text-align: justify;"><span style="font-size: small;">Seattle artist&nbsp;<a title="Margie Livingston" href="" target="_blank">Margie Livingston</a>&nbsp;makes sculptural objects out of paint, pouring gallons of acrylic to form skins that she hangs on nails, drapes over pegs, leans against the wall, piles like discarded laundry, and cuts into planks. Her paint is both object and subject&mdash;it may be a minimal abstract shape that stretched over an armature becomes a table, or it may seem like flesh but resemble a net or wooden paneled wall. The dichotomy between object and subject creates seductive, visceral, and mysterious works of art.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Livingston states: &ldquo;Like the organic, sensual physicality of works by artists Lynda Benglis and Eva Hesse, my relationship with the draped paintings is physical, body to body. They exist in real space, rather than the illusional space of painting. As I must stroke the paint to shape it, it becomes so much like skin that the gesture is akin to a caress. I also play with the weight of painting, letting gravity reveal the material&rsquo;s flexibility so the works allow painting&rsquo;s historical significance to reflect back on itself.&rdquo;</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>APEX is an ongoing series of exhibitions of Northwest-based artists, curated by Bonnie Laing-Malcolmson, The Arlene and Harold Schnitzer Curator of Northwest Art.</em></span></p> <div class="exhibition-sponsors" style="text-align: justify;"> <h2><span style="font-size: small;">SPONSORS:</span></h2> <span style="font-size: small;"><em>The APEX series is supported in part by The Arlene and Harold Schnitzer Endowments for Northwest Art and the Paul G. Allen Family Foundation.</em></span></div> Fri, 31 Jul 2015 06:30:58 +0000 Karl Haendel - Barbara Seiler Galerie - August 26th - October 3rd Mon, 27 Jul 2015 07:58:43 +0000