...because it doesn’t hurt to have the tables turned once in a while. Portland improv group Super Project Lab did it to me live on stage at the Winningstad last night.
It may seem like I have a one-track mind (because I only paint portraits), but I’m not as focused as all that. I’m not, for example, the kind of artist who can work on just one painting at a time. At any given moment, my studio has to be full of half-made faces or I can’t paint.
Artist Geoffrey Raymond turns portraits into a platform for comment and captures a moment in history.
On the wrong way to build a reputation as a portraitist and the only real way to be a successful artist.
The story of a heart transplant surgery told in two paintings.
According to art historian and critic Charlotte Mullins, one of these paintings is a portrait and the other is not. The portrait and its like didn’t make the cut for her book Painting People while the non-portrait and its brethren did. Mullins’ explanation of just why is as revealing as it is nonsensical.
A Brief History opened this evening at the Littman Gallery!
Working with a venue can be complicated. Whether you’re working with a dedicated art space or with an alternative venue (like a coffee shop or bar), there’s a whole list of issues to consider from the outset.
One of my favorite parts about putting up shows is what I call the “Question Book.” It’s very like a plain old comment book in form, but nothing like it in substance. I fill my Question Book with questions about the concepts surrounding the exhibition and hope that viewers will share their answers.
The Question Book for Apple Pie gathered some especially thought-provoking responses and these are just some of them…
Today was part two of the film filming for OPB’s Oregon Art Beat. KC and the crew documented my interview with the extraordinary Kevin Cook.
...or, rather, when a whole lot of people hope he is. Artist Ron English’s Obama-Lincoln mashup is just that latest manifestation of the phenomenon that is the Democratic Presidential nominee.
Artist Jill Greenberg’s manipulated photos of Presidential candidate John McCain are nothing new: it’s the gesture behind the work that’s so meaningful.