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This weekend is a busy one for the arts and crafts. Ceramic Showcase, the largest exhibit of ceramic arts in the nation, is occurring April 29th, 30th, and May 1st at the Oregon Convention Center. The event is free to attend and opens 10-9 Friday & Saturday; 10-5 on Sunday. Featuring demonstrations and play areas, 150 booths of original artwork, an auction, live music and Oregon wines, it is a window into the world of clay. here is a video preview: 2010 Ceramic Showcase
Artists who participated in Portland Open Studios in 2010 who are exhibiting their work at Showcase include Kris Paul, Deb Shapiro, Babette Harvey, Maria Simon, Chayo Wilson and Sara Swink.
From the desk of CAP comes these words: On Saturday, April 30, 2011, Cascade AIDS Project (CAP) will host the Annual Art Auction as we honor the organization’s 25th anniversary since incorporating.
Over the past 22 years, this iconic event has brought over 1,000 artists, galleries, patrons, and community leaders together each year with the goal of raising much-needed funds for the essential programs and services CAP provides. Considered by many to be one of Portland’s keystone fundraisers, this event was created by the local arts community in 1989 to raise funds in the fight against HIV/AIDS. The Grand Event ($100/person) includes a salon-style silent auction of 280 artworks along with sweets and savories provided by 25 of Portland’s best food purveyors. The Patron Dinner ($250/person) includes attendance at the Grand Event plus special entertainment, a gourmet meal, and an exclusive live auction featuring 15+ of the most outstanding artworks donated by prominent artists. An invitation accompanied by a color artwork catalog is published and mailed to 5,000 individuals, as well as distributed to 30 galleries.
The Guest Curator for 2011 is Terri M. Hopkins, Director of The Art Gym at Marylhurst University in Portland, Oregon. Ms. Hopkins will choose 10 to 12 live auction pieces and will coordinate with a selection committee to choose up to 3 additional live auction artworks, 20 honorable mentions, and 280 silent auction pieces.
Our Portland Open Studios artists who have contributed work to the juried auction : Theresa Andreas-O’Leary, Marcy Baker, Kindra Crick, Shawn Demarest, Jennifer Feeney, Kristin Fritz, Morgan Madison, Katherine Mead, Jesse Reno, Sabina Zeba Haque, Erika Lee Sears, Kelly Williams and Linda Womack.
For more information: http://www.capartauction.org/
See you there!
The Time is Now! Apply Here
Applications are now being accepted for the 2011 Portland Open Studios Tour!
Every year we get the word out to as many artists as we can in the hopes of having an exciting, vibrant tour chock-full of talented artists. Maybe participating in the 2011 Portland Open Studios Tour is in your future? Applications are accepted through March 15th, but starting the process early is a great idea. Once you’ve completed the information page your application is saved and you can return at anytime through March 15th to add images, remove images, edit information, etc. Also, you save $10 if your application and jury fee are received by March 8th.
This year we are thrilled to have the following jurors:
Modou Dieng is an Assistant Painting and Drawing Professor at PNCA. Dieng is known internationally for his multidisciplinary artistic work conceptualizing visions of contemporary life. He has exhibited with numerous galleries including Steve Turner Gallery (Los Angeles), Pascal Polar Gallery (Brussels), Museum of Contemporary African and Diaspora Art (NY), and Carousel du Louvre (Paris). Dieng is the founder and curator of Portland’s Worksound Gallery.
Elise Wagner has been a working and exhibiting artist in Portland for over twenty years. Best known for her deft handling of the encaustic medium, Wagner teaches both nationally and internationally. Wagner is represented locally by Butters Gallery in addition to Chase Young Gallery in Boston, Hallway Gallery in Bellevue, WA and Aberson Exhibits in Tulsa, OK. Elise Wagner was the recipient of a 2010 Oregon Arts Commission Career Opportunity Grant to fund concurrent 2011 solo exhibitions in Boston and at the Sordoni Art Gallery in Wilkes Barre, PA.
Mark Woolley founded one of the first galleries in the Pearl District in 1993. Known initially as Acanthus Gallery the space featured emerging, mid-career and iconic late career painters and sculptors as well as challenging and provocative “outsider” artists and socio-political installations. For the last 17 years, Woolley has been a force for moving the visual and performing arts forward in Portland and co-founded the Wonder Ballroom in 2005. He currently curates a variety of independent spaces and sponsors select shows throughout the Portland area.
Many additional application questions can be answered on our website’s Apply page or by sending an e-mail to email@example.com.
Best of Luck!
Navigate the Portland Open Studio tour from the palm of your hand. If you have an iPhone, we have an app for that! This year you may use your Portland Open Studios iPhone app as your tour guide and map to make it easy for you to find the art you love.
Indulge your curiosity with this interactive version of our time-tested Tour Guide. The new iPhone app includes information for all 100 artists, images of their artwork, plus information about our 2010 community partner, Children’s Healing Art Project (CHAP) which brings the healing power of art to children in crisis.
The 2010 tour is on October 9, 10 and 16, 17 (always the 2nd and 3rd weekends of October). All 100 artists’ studios are open from 10am to 5pm, and artists will be on hand to demonstrate their process and answer questions during those hours
Featuring the same quality images of work by every artist, their contact information and directions, the application places each studio location on a map. Then, when you are ready to travel to the next studio, the app links into iPhone’s GPS-guided maps function to take you there step by step. Other features of the application include the ability to highlight your favorites artist studios, sort by medium of choice, make notes about your experience at the studio, receive last minute information from the tour organizers, and provide feedback that will help all visitors and artists in the future. Then keep the artists contact information for future reference as holidays, anniversaries or birthdays approach. A list of wheelchair-accessible studios is also available.
The application is $14.99 a penny less than the printed Tour Guide: Download your Portland Open Studios iPhone app here!
Find out more about the Portland Open Studios tour at .www.potlandopenstudios.com
A special thanks to board member Shu-Ju Wang and developer John Roberts at MindWarm, Inc. for creating this wonderful application.
By Susan Gallacher-Turner
If you’ve been thinking about applying for Portland Open Studios, now’s the time. As a Portland Open Studios artist, you’ll be able to show your work and tell visitors about your process in your own studio. You’ll get the opportunity sell your work, build a mailing list, set up workshops and meet people interested in your art from all over the city and country.
As an artist, you probably have a few questions and anxieties about this yearly studio art tour and how it works, so here’s a quick Q&A to help you. If you have questions not answered here, let us know at firstname.lastname@example.org
I live in the suburbs, can I apply?
Yes. If you live in Tigard, Beaverton, Aloha, Milwaukie, Oak Grove, Gladstone, Happy Valley, Lake Oswego, West Linn, and Tualatin.
How do I apply?
It’s easy. Go to the website at http://www.portlandopenstudios.com and click on Apply. The application is all online with easy instructions.
What’s the deadline?
March 15, 2010, but you get a discount on jury fee if you apply before March 8, 11pm.
Are there scholarships available?
Yes. The Kimberly Gales Emerging Artist Scholarship is awarded to one to two artists each year between the ages of 20 and 30 years. The details and how to apply are on the apply page.
How many images do I need and how do I upload them?
You’ll need 3 images. There’s step by step help for uploading images on the Apply page.
What if my studio is in my dining room?
That’s fine and it may even be more inspiring for your visitors. The idea is for visitors to watch artists at work. It doesn’t matter whether your studio is in your basement, garage, kitchen, dining room, den or attic. As long as it’s where you work, it works for us.
What do I have to do for visitors?
You show and tell them about your art. You could paint, draw, sculpt or throw clay. You could explain how you stretch canvas, glue your collage, do encaustic. It’s your studio and your chance to share what you do.
If I get in, when will I know?
You’ll get an email letter from us in late March or early April.
How much does it cost?
There’s a $25 non-refundable jury fee, if you apply before March 8th, after that the jury fee is $35. The participation fee is $140 plus 8 hours of volunteer service. If you opt out of volunteer service, there’s an additional $155 fee.
Are there volunteer requirements?
Yes. To get an event this size up and running, we all need to help and that’s where you come in. If you are juried into the Tour, you’ll be asked to help out in an area you choose for 8 hours over the course of 6 to 12 months. If you absolutely can’t spare 8 hours of your time, you can ‘opt out’ and pay an extra $155.
Can I talk to other artists to find out more?
You bet. Just email any of the artists or board members here http://www.portlandopenstudios.com/about.html,
we’d be happy to answer your questions. Or you could check out the 2009 artist list and see if there’s someone you know who’s already been part of Portland Open Studios.
Portland Open Studios artist Carole Zoom’s art selected as gift by the City of Portland to Sapporo, Japan
As an artist on the Portland Open Studios Tour, you’ll show and sell your work in your own studio, connect with other artists and share your creative process with art lovers in the community. These are just a few of the many opportunities for you by participating in Portland Open Studios yearly art studio tour.
Your artwork will be published in 3,500 full color Tour Guides and on the website with a link to your site. Your name and contact information will be available to media, curators and art buyers all year long in the Tour Guide catalog and 16 month calendar. You can also use the Portland Open Studios blog to promote your own shows and events for a full year. You’ll get 5 free Tour Guides, studio signs and postcards as well as learn marketing and demonstration information to help you make the most of your experience.
Last year, Portland Open Studio Tour artists, Carole Zoom and Andy Paiko, had work chosen by the City of Portland as gifts to Sapporo, Japan. Some artists had visits from Oregon Art Beat host, K.C. Cowan. Many artists had articles highlighting their work and studios in many local papers, received invitations to exhibitions, lead workshops and other opportunities.
There are scholarship opportunities for artists 20-30 years of age. The Kimberly Gales Emerging Artist Scholarship recipient will have all fees waived and receive a $100 stipend.
Portland Open Studios Tour is open to artists in all media in the Portland Metro area and suburbs including Tigard, Beaverton, Aloha, Milwaukie, Oak Grove, Gladstone, Happy Valley, Lake Oswego, West Linn and Tualatin. Artists are chosen by a jury of three art professionals.
The application is open now until March 15th. If you apply early, the jury fee is $25 and $35 from March 9 through the 15th. The participation fee is $140 plus 8 hours of volunteer service or you can choose not to do volunteer hours for an additional $155 fee.
The dates for this year’s tour are October 9, 10 and 16, 17. All participating artists will be open from 10 am to 5 pm both weekends, giving you twice the opportunity to show your work. Apply today online at http://www.portlandopenstudios.com
Eduardo Fernandez started Kenton Studio, a drawing and painting atelier well equipped for artists to come and work in the figurative tradition. The studio is offering the following workshops in addition to drop-in life drawing every Saturday. Workshops and dates below, please email or contact Eduardo at 971-998-3155 for details.
Open Session Life Drawing
Saturdays from 10 – 1pm
Great lighting, atmosphere & quality models to inspire your work.
Jan 29th -31st, 2010
Build likeness and structure with paint!
Intro to Academic Figure Drawing
Feb. 26th – 28th, 2010
Invigorate your drawing practice – tried & true.
Thursday mornings, with Julie Ann Smith
In addition, a series of Artist Talks is scheduled to begin in February. Come meet David Riedel, last year’s winner of the Oil Painters of America top prize, and hear him talk about his work on February 6th.
The studio is available to rent for workshops and other events. Please email or contact Eduardo at 971-998-3155 for more info.
Visit www.kentonstudio.com and check out the Mentored Drawing Studio and Artists Talk Series starting in February.
8371 N Interstate Avenue, Portland, Or, 971-998-3155
“Recovery Panes” by Kelly Williams is a multi-phase community project involving those who have been impacted by addiction. Participants will create a small encaustic painting representative of their personal experience, strength and hope. The complex elements of encaustic wax will uniquely allow a symbolic and cathartic exploration of their experiences. Participants will also share a short, written response to the process to be paired with their painting.
All individual paintings will be joined to form larger works, framed and presented to resemble large windows with each painting representing a single window pane. All participants, whether artists or viewers, will have the opportunity to gaze into these powerful windows and see not just an individual’s experience, but a whole community of shared experiences, strengths, and hopes uniting us in our recovery journey.
Both the ‘Recovery Panes’ and an accompanying journal will be shown at multiple venues in late 2010.
To learn more about Kelly’s work, see her website at http://kellywilliamsart.com
By Bridget Benton
I am a woman obsessed with making art from just about anything I can get my hands on. I naturally tend toward collage and assemblage art, and have
incorporated this approach into my work making jewelry, fiber art, acrylic
paintings, and now encaustic art. The more media I can combine—and the more crazy materials I can incorporate—the happier I am. In fact, the materials often guide my work. Later, I will discover themes and meanings emerging, but in the magical moment of making, the materials are the driving force.
About a year ago, a material that grabbed my attention was all the plastic
that I couldn’t put in my new blue curbside recycling bin: plastic bags,
clamshell containers, and the humble plastic bottle cap. It looked like a
whole lot of potential art to me! I made a few necklaces from bottle caps,
and then started thinking about what I could do if I had a lot of bottle
caps, maybe even hundreds or thousands of bottle caps.
So, my boyfriend and his family started saving me bottle caps. I got a few
from other friends. I started experimenting with different ways of
connecting them. You look at things differently when you have a lot of them:
in many ways, they become more interesting, more beautiful. You see
patterns of shapes and colors, and you begin to see patterns of consumption.
And then I got involved with the group Leave No Plastic Behind and their
plastic art challenge. I learned more about the impact of plastic on the
oceans, as well as the fact that bottle caps come right after cigarette
butts on the “Most Common Beach Litter” hit list.
All of this collecting, connecting, and consciousness-raising culminated in
the construction of this chandelier, called Drifter. It’s now on display in
the lobby of the office building next door to SCRAP off of MLK. The piece
is over 5 feet tall, and includes a long string of Christmas lights. I
haven’t counted how many bottle caps are in there, but it’s a lot, and it
was all collected over a relatively short five-month period from only a few
[Above, the chandelier constructed from bottle caps.]
Now, I’m in the process of collecting another big batch of bottle caps for
the creation of several more light fixtures. If you have plastic bottle
caps – any size, any color – from beverages, shampoo, household cleaners,
peanut butter, whatever – bring them on over when you drop by my place
during the Portland Open Studios tour. My demos will all be about encaustic
painting, but as for the conversation, well, all materials are welcome.
Below, Bridget’s collection of bottle caps.
To learn more about Bridget Benton’s work and classes, please visit her website at http://www.eyesaflame.com/.
You can visit Bridget and 99 other artists during Portland Open Studios weekend. To learn more about the event, visit http://www.portlandopenstudios.com/.
Above, Helen Hiebert making paper.
Helen Hiebert, Diane Jacobs, and Shu-Ju Wang are 3 members of an art collective who have been meeting and working together for several years. Their most recent collaboration, the installation For the Love of Food, was shown at Cedar Crest College in Pennsylvania earlier this year.
They are also participating in Portland Open Studios this year and have decided to coordinate their hands-on demonstrations. Visitors will have a chance to see the process of creating a print, starting from making paper from pulp to letterpress and silkscreen printing.
Start at Helen Hiebert’s studio (artist 49), where visitors are invited to make paper. From there, visitors can go on to Diane Jacobs’ studio (artist 44) and Shu-Ju Wang’s studio (artist 90) to see how text and images can be printed using letterpress and silkscreen printing techniques. You are encouraged to visit both Diane’s and Shu-Ju’s studios (in either order) to see how the two different printmaking methods can be combined to create a finished print.
Between the three, they will also be showing finished work that range from handmade paper, lanterns, prints, artist’s books, sculptures, paintings, photographs, cards and more.
They are also in 3 different regions of metro Portland – N Portland, NE Portland, and SW Portland, perfectly spaced for people doing the tour throughout the Portland metro area. Note that Helen’s and Diane’s studios are open on October 10 & 11 only, 10am-5pm; Shu-Ju’s studio is open October 10, 11, 17, and 18, 10am-5pm.
For more information about Portland Open Studios, visit the website at www.portlandopenstudios.com.
Diane Jacobs setting type…
And Shu-Ju Wang Gocco printing.
The word ‘green‘ is prominent in this year’s Portland Open Studios, a tour of 98 artists’ workplaces throughout metro Portland.
‘Green’ and ‘art’ said in the same sentence usually means the color. Marcy Baker uses a lot of green, gentle new grass green and deep rich pine, in her prints and paintings which are abstractions of her garden and the plants in the backyards of her neighborhood.
Below, Marcy Baker’s work:
These days ‘green‘ means the use of recycled materials. Many of the artists use found objects. Allen Kinast makes one of a kind furniture out of reclaimed lath left over from remodeling sites. He uses the cut narrow pieces of wood both on end and flat for a mosaic-like technique that yields geometric designs that are anything but static. His furniture is a great marriage between function and art. He uses the same techniques to make wall works, from tile sized to those that fit on a whole wall.
What do french fries and ceramics have in common? Sure, you could eat a bowl of fries in a beautiful ceramic bowl thrown by Careen Stoll. But you would be wrong. Stoll uses recycled vegetable oil to fire the kiln that she has built in her backyard to turn raw clay into beautifully colored, elegantly shaped bowls, cups, plates and other utilitarian objects. The technical and physical challenges are numerous in both building the kiln and every time it is fired. She has to be part scientist and part magician to get the desired results in using this unusual fuel. Who said being green or an artist is easy?
Careen Stoll’s work, and her building her kiln:
Tom Soule, another artist on the neighborhood has his studio in a green house, actually gray in color, but has a 3.5 KW solar panel system on the roof that feeds directly into the (PGE) grid. The southward, oriented system has no “dark” periods during the day, and is on a slant with the roof to make its exposure 95% efficient. It has radiant floor heating, a passive solar heat storage in the concrete floor and low E glass on the windows. Don’t neglect Soule’s watercolor and gouache paintings which combine strong color with textured areas to create abstract images suggestive of buildings or geometric structures. His wood sculpture is more organic in form.
Tom Soule’s work and studio:
Whether you go by bicycle, car, bus or walk your own neighborhood you will be transported to the land of imagination, craftsmanship and beauty. Go ahead, paint the town green.
You can watch artists at work in your green neighborhood during Portland Open Studios and other areas throughout the metro area on October 11, 12 and 18, 19. New this year is that many are open both weekends. Check the map and Tour Guide for the complete schedule, then cross the river both weekends. The $15 Tour Guide comes with two tickets, maps, pictures of all artists’ artwork, and contact information (in 2009 calendar format). Children under 18 are free. Available at Art Media, New Seasons, and other stores listed on www.portlandopenstudios.com.
Portland Open Studios artist Linda Womack met with a reporter for an upcoming article about her and her work. Below is Linda’s write-up about her preparations to meet the press, “reprinted” here with her permission from her blog http://embracingencaustic.wordpress.com where you can see the original article along with images. You can see more of Linda’s work on her web site at http://www.lindawomack.com/.
by Linda Womack
OK, so it wasn’t on film at all but I did get up close and personal with a local reporter. Yesterday I met with Josephine Bridges who writes for numerous papers including a local favorite that covers my neighborhood: The Southeast Examiner. Josephine is writing a story on four Portland Open Studios artists who work with unusual materials, and our resident publicity hound, Bonnie Meltzer, put her in touch with me.
Josephine and I had met before, but last time I was doing demos in my dining room so she was very excited to see my new studio and all of my new work. I was nervous because I don’t usually get to talk with reporters — they usually review my work without any interaction from me — but she put me right at ease. We just sat and had a conversation as if she just stopped in for tea and the time flew by. Of course I did my homework beforehand and had a press kit ready. I haven’t made too many of those either but it’s easy to find advice online on what to include.
My press kit included:
- A copy of my resume
- My art statement
- My two latest press releases (about the HGTV show and my solo show at City Hall)
- A sheet titled “What is Encaustic?” so she can write knowledgeably about my technique without having to do any additional research
- Two promotional post cards with images on my work on them, one with a sticker announcing upcoming shows.
- Two business cards (Someone once told me to always include two so they can give one to a friend or have one at the office and one at home)
- A CD with high resolution images of 5 recent paintings, an image list with titles and sizes, 2 images of me with my work, 2 images from my book (Embracing Encaustic). After looking over the book she was so enthusiastic that I gave her a copy of that too!
- What I forgot: Copies of previous press clips (duh!) and a class schedule. It turns out that she wants to take a class!
Josephine was pleasantly surprised when I gave her the folder containing my press kit. Hopefully it will make it that much easier for her to use one of my images in the story. I shamelessly pointed out that I haven’t even done a press release on the book yet, so it’s something she might consider for another story. It seems like it could have a good DIY angle.
She did ask one question that I hadn’t had before: “What’s the one thing you want people to know about your work?” This is a great question! I told her that all the technical aspects of encaustic tend to scare some people off and they should know that it’s really not that hard to get started if you just know a few basic techniques.
Look for the article in the October issue of The Southeast Examiner.