BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

Ansel Adams\, Paul Strand\, an d Edward Weston and his son Brett each produced significant\, limited-editi on portfolios for the mid-20th century&rsquo\;s burgeoning photography mark et\, while Minor White assembled &ldquo\;sequences&rdquo\;&mdash\;painstaki ngly assembled and periodically reworked groupings of photographs. FOTOFOLI O brings together four portfolios and one sequence in a single exhibition\, charting each artist&rsquo\;s motivations surrounding image selection\, pr oduction\, and order. These complete portfolios and sequence\, displayed as originally assembled\, encourage visitors to experience the photographic s uites in their entirety and discover new relationships among the works.

\n

FOTOFOLIO is organized by the Portla nd Art Museum and curated by Julia Dolan\, Ph.D.\, The Minor White Curator of Photography.

DTEND:20160103 DTSTAMP:20150731T174205 DTSTART:20150627 GEO:45.5164787;-122.6838571 LOCATION:Portland Art Museum\,1219 SW Park Avenue \nPortland\, Oregon 9720 5 SEQUENCE:0 SUMMARY:Fotofolio Adams\, Strand\, Weston\, Weston\, White UID:391624 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Among the great ceramic tradit ions of the world\, the Japanese alone sustain a thriving studio potter ind ustry. More than 10\,000 Japanese potters make a living crafting tea bowls\ , saké\; bottles\, flower vases\, and tableware. Whether crafted of u nglazed stoneware or refined porcelain\, these intimately scaled art works are a cherished part of daily life in Japan.

\n

Contemporary masters of clay art in Japan are deeply aware of their traditions in thrown\, hand-built\, carved or molded forms\; they celebrat e a reverence for the unique qualities of the material and embrace the unpr edictability of the firing process. Wares by Nakazato Takashi and Yoshida Y ukihiko\, both potters in their late seventies\, exemplify the best of Japa n&rsquo\;s enduring taste for \;wabi-sabi\, an austere simplic ity infused with emotional depth. Other artists\, consciously working withi n global idioms\, stretch the boundaries of utility to explore ever more sc ulptural forms\, as in Hoshino Satoru&rsquo\;s writhing\, organic \;Spring Snow No. 12\, or the frozen motion of Fujikasa Satoko&rsquo\;s  \;Flow #1.

\n

Contempo rary Japanese Clay \;celebrates artistic innovation and superb cra ftsmanship in Japanese ceramics from the 1950s to the present\, revealing t he growth of the Museum&rsquo\;s holdings in this fascinating art form.

\n

Organized by the Portland Art Museum and curated by Maribeth Graybill\, Ph.D.\, The Arlene and Harold Schnitzer Curator of Asian Art.

DTEND:20151018 DTSTAMP:20150731T174205 DTSTART:20141101 GEO:45.5164787;-122.6838571 LOCATION:Portland Art Museum\,1219 SW Park Avenue \nPortland\, Oregon 9720 5 SEQUENCE:0 SUMMARY:Hand and Wheel: Contemporary Japanese Clay UID:391623 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This spring\, the Museum is pr oud to partner with the Portland Opera and the David Hockney Foundation to present \;David Hockney: A Rake&rsquo\;s Progress. Hockney\, o ne of the most significant artists of our generation\, has long engaged wit h the paintings and engravings of 18th-century English artist William Hogar th. Hockney was particularly captivated by Hogarth&rsquo\;s series \;The Rake&rsquo\;s Progress\, 1733\, which chronicles the rise and fa ll of Tom Rakewell\, the son and heir of a rich merchant\, who squanders hi s money on luxurious living\, prostitution\, and gambling. After a trip to New York\, Hockney produced his own interpretation of the story. Hockney&rs quo\;s \;A Rake&rsquo\;s Progress \;was published as a por tfolio of 16 etchings in 1963 and is considered one of the high points of h is early career.

\n

In 1975\, Hockney co llaborated with director John Cox to create a new production of Igor Stravi nsky&rsquo\;s opera based on Hogarth&rsquo\;s \;The Rake&rsquo\;s P rogress. 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 angulari ty of Stravinsky&rsquo\;s score. The result is both playful and rigorous\, a perfect blend of the aural and visual.

\n

The exhibition is an exciting look into Hockney&rsquo\;s creative proce ss. It will feature etchings\, drawings\, models\, and watercolors that dep ict 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 fi nest living artists.

\n

The exhibition o f this work is complemented by \;the Portland Opera&rsquo\;s production of \;The Rake&rsquo\;s Progress \;on June 11\, 12\, and 14\, 2015\, featuring Hockney&rsquo\;s celebrated scenic and costume designs.

\n

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.

\ n
\n

SPONS ORS:

\n

This exhibition is supported in part by The Boeing Company\, Mary Chomenko Hinckley and Greg Hinckley\, an d the Vivian and Gordon Gilkey Endowment for Graphic Arts.

\n
DTEND:20150802 DTSTAMP:20150731T174205 DTSTART:20150418 GEO:45.5164787;-122.6838571 LOCATION:Portland Art Museum\,1219 SW Park Avenue \nPortland\, Oregon 9720 5 SEQUENCE:0 SUMMARY:A Rake’s Progress\, David Hockney UID:391622 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Museum is pleased to prese nt an exhibition of \;Ai Weiwei&rsquo\;s Circle of Animals/Zodiac H eads: Gold (2010)\, on view this summer in the Arlene and Harold Schni tzer Sculpture Court.

\n

The installatio n consists of a dozen gilded bronze sculptures representing the animal symb ols from the traditional Chinese zodiac.
The artist drew inspiration f or the 12 heads from those originally located at Yuanming Yuan (Old Summer Palace)\, an imperial retreat of palaces and European-style gardens built o utside of Beijing in the 18th and 19th centuries by Emperor Qianlong. Desig ned and engineered by two European Jesuits\, Giuseppe Castiglione and Miche l Benoit\, the heads originally functioned as an ornate fountain clock that would spout water at two-hour intervals.

\n

Once accessible only to the elite of 18th-century Chinese society\, th e garden was destroyed and looted by Anglo-French troops in 1860 during the Second Opium War\, displacing the original zodiac heads. The seven heads k nown to exist (Monkey\, Pig\, Rat\, Ox\, Tiger\, Rabbit\, and Horse) have a ll been returned to China. \;Circle of Animals/ Zodiac Heads: Gold< /em> \;engages issues of looting\, repatriation\, and cultural heritage while expanding upon ongoing themes in Ai&rsquo\;s work of the &ldquo\;fak e&rdquo\; and &ldquo\;copy&rdquo\; in relation to the original.

\n

Ai Weiwei (born 1957\, Beijing\, China) is a ren owned contemporary artist\, architectural designer\, and social activist wh o 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 violati ons\, 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 .

\n

Ai Weiwei&rsquo\;s Circle of An imals/Zodiac Heads \;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 ou tdoor display.

\n

&ldquo\;We&rsquo\;re d elighted to present this important work by one of the world&rsquo\;s leadin g contemporary artists\,&rdquo\; said Brian Ferriso\, The Marilyn H. and
Dr. Robert B. Pamplin Jr. Director. &ldquo\;Ai Weiwei&rsquo\;s \;Circle of Animals \;reflects the Museum&rsquo\;s commitment to th e art of today\, and it furthers our mission of bringing the world to Orego n. Ai Weiwei&rsquo\;s work reveals layers of history while bringing attenti on to current economic\, political and collecting issues.&rdquo\;

\n

Circle of Animals/Zodiac Heads: Gold \ ;builds on a strong run of contemporary art exhibitions at the Portlan d Art Museum. In 2014\, the Portland Art Museum was the first museum in Nor th America to exhibit Richard Mosse&rsquo\;s groundbreaking installation\,& nbsp\;The Enclave. \;Recent exhibitio ns in the Contemporary Art Series funded by the Miller Meigs Endowment for Contemporary Art have focused on \;significant artists including \; Mike Kelley \;(2012)\, \;Cindy Sherman \;(2012)\, \;Sherrie Levine(2013)\, and \;Joel Shapiro \;(2014).

\n

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.

\n
\n

SPONSORS:

\n

Heather Sacre and James Carona\, Miller Meigs Endowment for Conte mporary Art\, Bonnie Serkin and Will Emery\, Jim and Susan Winkler\, The Pa ul G. Allen Family Foundation\, and the Exhibition Series Sponsors.

\n DTEND:20150913 DTSTAMP:20150731T174205 DTSTART:20150523 GEO:45.5164787;-122.6838571 LOCATION:Portland Art Museum\,1219 SW Park Avenue \nPortland\, Oregon 9720 5 SEQUENCE:0 SUMMARY:Circle of Animals/Zodiac Heads: Gold\, Ai Weiwei UID:391621 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150913 DTSTAMP:20150731T174205 DTSTART:20150613 GEO:45.5164787;-122.6838571 LOCATION:Portland Art Museum\,1219 SW Park Avenue \nPortland\, Oregon 9720 5 SEQUENCE:0 SUMMARY:Gods and Heroes: Masterpieces from the École des Beaux-Arts\, Paris UID:391620 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Seattle artist \;Margie Livingston \;makes sculptural objects ou t of paint\, pouring gallons of acrylic to form skins that she hangs on nai ls\, drapes over pegs\, leans against the wall\, piles like discarded laund ry\, and cuts into planks. Her paint is both object and subject&mdash\;it m ay be a minimal abstract shape that stretched over an armature becomes a ta ble\, 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.

\n

Livingston states: &ldquo\;Like the organic\, sensual physicality of works by artists Lynda Benglis and Eva Hesse\, my re lationship with the draped paintings is physical\, body to body. They exist in real space\, rather than the illusional space of painting. As I must st roke 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 grav ity reveal the material&rsquo\;s flexibility so the works allow painting&rs quo\;s historical significance to reflect back on itself.&rdquo\;

\n

AP EX is an ongoing series of exhibitions of Northwest-based artists\, curated by Bonnie Laing-Malcolmson\, The Arlene and Harold Schnitzer Curator of No rthwest Art.

\n
\n

SPONSORS:\nThe APEX series is supported in p art by The Arlene and Harold Schnitzer Endowments for Northwest Art and the Paul G. Allen Family Foundation.

DTEND:20151115 DTSTAMP:20150731T174205 DTSTART:20150725 GEO:45.5164787;-122.6838571 LOCATION:Portland Art Museum\,1219 SW Park Avenue \nPortland\, Oregon 9720 5 SEQUENCE:0 SUMMARY:APEX: Margie Livingston\, Margie Livingston UID:391619 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20151003 DTSTAMP:20150731T174205 DTSTART:20150826 GEO:47.3772747;8.5211972 LOCATION:Barbara Seiler Galerie\,Anwandstrasse 67 \nZurich\, 8004 SEQUENCE:0 SUMMARY:Weeks in Wet Sheets\, Karl Haendel UID:391232 END:VEVENT BEGIN:VEVENT DTEND:20150826T210000 DTSTAMP:20150731T174205 DTSTART:20150826T180000 GEO:47.3772747;8.5211972 LOCATION:Barbara Seiler Galerie\,Anwandstrasse 67 \nZurich\, 8004 SEQUENCE:0 SUMMARY:Weeks in Wet Sheets\, Karl Haendel UID:391233 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Plus Gallery \;presents one of our most significant group effo rts to-date with the invitational exhibition &ldquo\;Super Human&rdquo\; fr om July 10th through August 15th. The survey brings together a wide ranging field of artists from around the world that collectively depict diverse di rections in portraiture or a strong focus on the human condition\, anchored by an array of Plus Gallery&rsquo\;s most acclaimed artists. A massing of small-scale 2-d works are intermixed with a trio of highly entertaining mot ion-based artworks\, all anchored by a riveting sculpture by artist Roger R eutimann.Super &ndash\; | &rsquo\;soōpә r | adjective &ndash\; informal ver y good or pleasant\; excellent.

\n

Human &ndash\; | (h)yoomn | adjecti ve &ndash\; of or characteristic of people as opposed to God or animals or machines\, esp. in being susceptible to weaknesses.

\n

As defined by t he OED\, to be super is to be great\, magnificent and above the rest. To be super is to be something uniquely extraordinary. To be human is to be sepa rate from any other species or entity\, of this world and beyond\, and cruc ially\, to be capable of error. The hybridization that occurs when combinin g these terms creates a space for infinite possibilities in terms of what t he Super Human is capable of. New elements are added which provide a sense of fantasy\, mystery\, and obscuration that are outside of the norm. These portraits represent a diverse range of ideas on people today\, how we docum ent ourselves and others\, the true versus the ideal\, the combination of t he physical with the spiritual\, and so on. These works draw the viewer in to contemplate what is in front of them\, calling upon them to read into th e works and the concepts behind their executions. What does it means to be super human? Or rather how do you convey such a concept? One must consider these contexts in order to grasp the artists intentions behind the works.\n

We live in a time when access to imagery is limitless\, it surrounds us constantly. Through social media\, the internet\, billboards\, TV\, etc .\, we are inundated with images of people to the point where we become num b. For the &ldquo\;Super Human&rdquo\; to exist is to revive notions on wha t it is to live in a time where technology warps our perception of reality but instead of stripping that down\, takes it one\, or two\, or 10 steps fu rther. By blurring those lines and redefining the human through a variety o f representations\, (whether it be additions to the body or a totally new a nthropomorphic form) &ldquo\;Super Human&rdquo\; turns the ordinary into th e extraordinary.

DTEND:20140815 DTSTAMP:20150731T174205 DTSTART:20140710 GEO:39.7312095;-104.9826965 LOCATION:Plus Gallery\,424 Broadway Inside Metropolitan Frame Company\nDenv er\, CO 80203 SEQUENCE:0 SUMMARY:SUPER HUMAN\, Jenny Morgan\, Donald Fodness\, Bill Amundson\, JEREM Y BAILEY\, Megan Burns\, Craig Cleveland\, David Cook\, Adan de la Garza\, Juan Pablo Echeverri\, Matthew Gardiner\, Matthew Harris\, Jules Julien\, l iza lacroix\, Gabriel Liston\, Wes Magyar\, Keita Morimoto\, David Mramor\, John Harlan Norris\, Austin Parkhill\, Lauren Pelc-McArthur\, Christopher R. Perez\, Roger Reutimann\, Jon Rietfors\, Michael Ryan\, Aimee Santos\, G regg Segal\, Xi Zhang\, Mario Zoots UID:391008 END:VEVENT BEGIN:VEVENT DTEND:20140710T200000 DTSTAMP:20150731T174205 DTSTART:20140710T180000 GEO:39.7312095;-104.9826965 LOCATION:Plus Gallery\,424 Broadway Inside Metropolitan Frame Company\nDenv er\, CO 80203 SEQUENCE:0 SUMMARY:SUPER HUMAN\, Bill Amundson\, JEREMY BAILEY\, Megan Burns\, Craig C leveland\, David Cook\, Adan de la Garza\, Juan Pablo Echeverri\, Donald Fo dness\, Matthew Gardiner\, Matthew Harris\, Jules Julien\, liza lacroix\, G abriel Liston\, Wes Magyar\, Jenny Morgan\, Keita Morimoto\, David Mramor\, John Harlan Norris\, Austin Parkhill\, Lauren Pelc-McArthur\, Christopher R. Perez\, Roger Reutimann\, Jon Rietfors\, Michael Ryan\, Aimee Santos\, G regg Segal\, Xi Zhang\, Mario Zoots UID:391009 END:VEVENT END:VCALENDAR