by Careen Stoll

Every so often on the journey of life, one reaches seemingly impassable terrain.   In January of this year, Scott Conary’s wife gave birth to a girl with hypoplastic left heart syndrome.  Within a few days, she endured the first of three surgeries to be spaced out over her childhood.  Scott describes the surgery as something from science fiction, and the experience of those weeks of raw fear and unreal, unavoidable processing of each family member’s pain as akin to stopping a train.

Scott Conary at work in his studio. Photo by Aaron Rogosin

How does the creative person navigate such shifts in their personal landscape?  Scott’s paintings are at once straightforward and mysterious:  figures stand in undefinable communication with each other, and farmhouses might be placed on only semi-recognizeable land.  When describing his paintings, he writes that he tries to create a “solidity” in the play between the subject matter and how much he enjoys using the paint itself as subject matter.  Where, then, is his new reality, as the fragile child that he loves is subjected to tangles of probes and tubes.  She was given the name Analogue Jane in reference to her eventual ability to escape these impositions of her surgery.  His painting is  “driven by a love and curiosity of the natural world and how we live within it.”  As his internal creative narrative incorporates a new character, how will his dry and kind sense of humor assist him in the description of this beloved new life?

Scott will be opening his studio again in October.  Be sure to check out his portfolio at


The Hanson Howard Gallery is showing the work of sculptress Sara Swink. Her figurative ceramic sculpture explores ideas about how the natural world intersects with one’s psychological nature in a new body of work called “One’s Own Nature”.  Also being shown are paintings by Kentree Speirs

Peace March by Sara Swink

Opening night is August 6, 6-9pm, 2010

show dates are August 6-31, 2010

Hanson Howard Gallery

82 North Main Street
Ashland, OR 97520-2782

Tu-Sat, 10:30-5:30
Sunday 11-2.

The Pines Art Gallery is showcasing Suzy Kitman’s diverse range of richly textured and vibrantly colored still life in a show entitled Big Fruit and People In Landscape paintings.  The show is open from July 2-July 30, 2010

After the Party by Suzy Kitman

The Pines is located at
202 State St.
Hood River, OR 97031

Phone: (541) 993-8301
Thurs-Sat 12-9 and Sun., Mon. and Wed. 12-6

associated address is The Pines 1852 Vineyard & Winery — Columbia Valley, Oregon
Suzy  can be reached at
on facebook as Suzy Kitman
on Twitter as: suzypaints

her website is

By Shu-Ju Wang

“When it comes to me talking about my work, it’s so simple, I just love capturing emotion through an expression or through movement. Evoking the essence through light and shadow, through as little information as possible.”

— Alexandra Becker-Black

Nothing sums up Alexandra Becker-Black’s work and her being as succinctly as that. She is a woman of few words, colors and lines, just enough to say what she needs to say and to give you enough room to interpret and imagine on your own.

From her chosen subject matter to her art-making process, all extraneous materials have been stripped away until there is nothing left but light and shadow. Then very slowly, she retrieves them, one by one, but only as necessary.

Apparition by Alexandra Becker-Black, in graphite.

Becker-Black has been obsessed with the human form since childhood. One of her earliest memories is that of her drawing a woman’s face. From there, she became interested in the figure. But her artistic calling was not revealed to her in quite that straight-forward a manner as that.

At the beginning, her work was more about the fashion figure where subtle movements, emotions and essence were cloaked beneath layers of clothing and accessories. Then, through her study of yoga, she became interested in anatomy, musculature, and their beauty when in motion.

So she stripped away the camouflage, decorations and colors, and started working with the nude figure in motion, in graphite or in neutral watercolors. Using a camera, live models, lights and a blank white background, she captures those movement that come and go in the blink of an eye, that can imply emotions and actions that statically posed models can not.

Once recorded, she works with the still images but continues to purge from the already naked form, choosing only what she needs and adding only what is absolutely necessary. You see muscles tense and strain against gravity; you see figures in serene repose; you see energy suddenly released when a small flock of birds fly out of a woman’s opened hands. All of this is conjured up in front of your eyes even as a torso fades to gray or a leg disappears, creating work that is ethereal and luminously beautiful, haunting, evocative and complex.

Beseech by Alexandra Becker-Black, in watercolor.

Although ‘simple’ appears again and again in Becker-Black’s own description of her work, there is truly nothing simple in her work or her method. As anyone who has tried to simplify their lives can attest, it is a difficult and complex process to come to an understanding of what we truly need. And at only three years out of Rhode Island School of Design where Becker-Black received her BFA, she has achieved a great deal in her understanding of the often repeated but rarely understood phrase ‘Less is More.

Alexandra Becker-Black is one of two recipients of the Kimberly Gales Scholarship for Young Artists this year. She is #42 in the roster of 100 artists on the 2010 Portland Open Studios tour. During the 2nd and 3rd weekends of October, you can watch her create her work in her lovely tree-nestled studio in NW Portland.

In the mean time, you can visit her website at, or see a few pieces in person during the month of July at Backspace Cafe:

Backspace Cafe
115 NW 5th
Please check website for hours:

8 Women Show
July 1 – August 3
Opening reception: July 1, 6-11pm

A worktable, with a painting in progress...

by Careen Stoll

Elisabeth Walden is one of the two recipients of the Kimberly Gales Scholarship for Young Artists this year. She has moved here recently from New York to refine her print technique in preparation for continued studies in the arts at a graduate school. The arc of her brilliance is likely to be long: with a BA Cum Laude from Yale and a naturally confident manner, she brings a consideration to her making process that will easily translate to any expression she may choose.

Elisabeth Walden at the Bite Studio. photo by Aaron Rogosin

Walden describes a feeling of ambiguity when representing the gallery spaces in which she has spent considerable time as an undergraduate and as an intern. In the jewel-like format of an aquatint print with inlaid chine-colle, she deconstructs the spaces that are designed to bring light to the art while maintaining their own spine. Walden’s fascination rests on clarifying the existence of that light caught in the geometry of walls and shadows which she then repeats via the print suite in subtle variations of mood and focus.

"African Art Gallery" from the Yale Art Gallery Suite. Aquatint with Chine Colle, 8 by 10

Take, for example, her suite based on the Yale University Art Gallery designed by Louis Kahn. Pictured above is a print clearly showing the relationship of the ceiling to the walls designed to be portable and floating above the floor. Walden loves the mathematical origins of the ceiling design inspired by the pyramids of Giza. She also loves the light that passes under the wall, and chose to draw the viewer’s focus towards it by zooming in until the prints became abstract theme and variations. Yet within the context of the suite, the viewer is given the necessary meta- awareness: this is a print hanging on a wall, of walls on which are hung prints. Her use of chine-colle heightens the experience even more: by adding a mild slip of colored rice paper, to denote the wall, she is formally adding light behind the darkness of the inks.

Concerning her internship at the Guggenheim, which she enjoyed in the summer after her degree, Walden has some pointed commentary on Frank Lloyd Wright’s use of the spiral. She remarks that Lloyd Wright hated the New York grid, and would have like to tear it all down and rebuild the city with spirals. She says the grid is what New York is all about, and so in her prints, she has shoved the Guggenheim back into the box-shaped buildings. Again she explores the suite, which she is completing: subtle moods, abstract composition, focusing on the light.

"Stiles Courtyard" early 2009. Aquatint with a rollover, 4 by 5in.`

Elisabeth currently works at Bite Studio and her work can be seen there on First Fridays. She loves the sense of community that comes with this studio and the wider art world here in Portland. Just last month, she was awarded an Honorable Mention in the juried show associated with the Cascade AIDS Project. Her participation in Portland Open Studios as a scholarship winner was also a pleasant surprise, and we are pleased to support her.

For more information and images of Elisabeth’s work, go to
Information about bite studio is available at

By Shu-Ju Wang

Above, gallery installation by Mary Bennett.

By her own accounts, Mary Bennett’s work is all over the board. She’s passionate about the collaborative process and public participation, both of which are notoriously difficult to predict and project what the end results will be.

She’s also new in town, having just moved here one week prior to the 2009 Portland Open Studios weekend. After crisscrossing the country from San Francisco to Santa Fe, Savannah, New York and Boston before settling in Portland, she’s ever eager to delve deeper into the artistic community and in engaging the PDX public in her work.

And here’s one example of what Portland might be in for—while in San Francisco, she spent two years developing a public art concept that involved random mailings of handmade postcards, dialogues & interactions with perfect strangers and documenting it all. The project never happened, although she did pay two years worth of rental on a post office box in anticipation.

After moving to Santa Fe, she implemented the project. This time, using her home address and phone number, she created untold numbers of handmade postcards (each in duplicates) and randomly chose 180 recipients from the telephone book. Over the following 6 months, each person received up to 8 postcards in sequence. The first postcards said “hello,” the second said “how are you?” And so on. The postcards could be stopped if the recipients called or wrote to put a stop to them.

Because Santa Fe was a small community, she imagined that this would be a conversation starter among those who received postcards, such as “hey, who do we know in that part of town that might be sending these?” But instead, the dialogues and interactions seemed strictly between her and her recipients, her and the police, and her and the local prison warden.

She had people question her sanity, she received anonymous phone calls, strange home visits, and became friends with the warden’s wife. At the end of six months, the duplicate postcards, documentations of the interactions, and all the recipients who hung on to the end all came together in an exhibit, which one critique called the best racial integration experiment the city had ever seen.

Mary Bennett installation
Above, installation view of the Dialogue Project.

The project was repeated in Memphis. And once again, the process was able to cut through racial & economic lines, to bring groups of people together at events that otherwise rarely drew a diverse crowd.

Mary Bennett installation 2
Above, detail of installation view.

When Mary is not devising ways to mix things up for the public, to move & blur rigid social & economic lines, she’s busy tearing up her paintings & prints and old books & newsprint to breathe new life into them:

“It’s very important for me to start with materials that have had a former life, I want them to have been something else, and  I want to transform or reconfigure or make them something different. I don’t care if you recognize it or not, this former life, and I almost always use text.”

Although she makes this statement about the personal art that she creates, the objects that she makes, its relevance to her public art is clear.

Mary Bennett received her BFA in Painting and Printmaking and her MFA in Interdisciplinary Arts; when you visit her studio, be prepared for anything & everything to happen. And the next time you walk out of the grocery store, the woman asking you for your now-useless shopping list might just be your chance to participate in a public art event!

To see some of Mary Bennett’s book arts work in June:

Book Power!
23 Sandy Gallery
June 3 — June 26, 2010
Artist Reception on Friday, Jun 4, 5-8pm

Be sure to check out the work of many of our talented artists at the Olympic Mills Commerce Center this Friday June 4th.

Olympic Mills Commerce Center
107 SE Washington St.

showing from June 4th – July 5th, 2010, from 7-9

The Northwest Art HerStory is a show giving light to the roots and futures of local female working artists.  Among them include women that will also be exhibiting in Portland Open Studios: Kelly Williams, Anna Magruder, Shawn Demarest, Theresa Andreas O’Leary, and Amy Stoner

For more information, visit the gallery website:
or contact:

Facebook as:
kelly williams artist

Twitter as:

The Bite Studio is showing New Works by Portland Open Studios member artist and Kimberly Gales Scholarship winner Elisabeth Walden and others on First Friday June 4th only.

Opening from 6pm to 10pm on Friday June 4th
at 2000 SE 7th Ave.
Portland, OR 97214

For more information, visit or or Elisabeth Walden on Facebook
Featuring the Prints of
Jenn Feeney
Tara Murino-Brault
Elisabeth Walden

The Brian Marki Fine Art Gallery is hosting the wood sculptures of Thomas Hughes in the following month.  In a Show entitled Wood Survey, Thomas shares the space with three other sculptors working primarily in wood.

Show dates June 2- June 29

Thomas Hughes

Reception June 4th, 5-8

The gallery is located at 2236 NE Broadway
Portland, OR 97232

Open: Monday- Saturday 9-5

gallery website:

For more information contact:

or Thomas Hughes on Facebook

Portland Open Studios member artist William Park has opened his studio for a group show.

The William Park Studio is hosting a show of their 16 members the weekend of June 4- 6.  Demonstrations of painting and printing will be done by the artists on Saturday and Sunday.  Reception June 4, 5-9pm, 2010.

Fri., June 4, 5-9pm
Sat & Sun., June 5 & 6 12 Noon-5pm

Venue/gallery address:
2637 NE MLK Jr. Blvd
Portland, OR 97212

For questions, contact:

Videographer Ian Lucero has created a lovely documentary about our celebration.  Ian has worked with other Portland Open Studio artists in the past to create videos that could be utilized to demonstrate making techniques that might be difficult to share with the public otherwise. For more information, contact Ian at

photo by Claudia Howell

by Careen Stoll

photo by Claudia Howell

The Gala opening of the 10×10 Show was a wonderful success.  About four hundred people enjoyed a great celebration of Portland Open Studios’  Ten Year Anniversary.   Located in the lofty atrium at City Hall, each diminutive art piece looked  like it had drifted down from the sky.    With 80 of the artists represented from the 2009 tour, it remains a rare opportunity to see the wide variety of work created by members of Portland Open Studios all in one place.

photo by Claudia Howell

Eloise Damrosch, Dan Saltzman and Kelly Neidig. photo by Claudia Howell

The executive director of the Regional Arts and Culture Council Eloise Damrosch placed Portland Open Studios in the wider context of how important the arts is to cultural growth.  Dan Saltzman, City Commissioner, introduced Portland Open Studios and accepted our gift to the city.  Sadly, Mayor Sam Adams, who has championed the arts, was sick and unable to attend.

Kelly Neidig and Scott Conary next to Conary's painting "The Dock". photo by Claudia Howell

Commissioner  Saltzman read the Proclamation, officially designating the second and third weekends of October Portland Open Studios weekends.  Kelly Neidig, President of Portland Open Studios,  accepted the honor on behalf of Portland Open Studios, said a few words of celebration and thanks, explained the Purchase Prize, and introduced Scott Conary who had painted the work to be gifted to the City.   Entitled “The Dock”, Scott’s work was revealed to the gathering amidst another cheer.

Kelly Neidig and Bonnie Meltzer. photo by Claudia Howell

The founder of Portland Open Studios, Kitty Wallis, said a few words about watching the organization grow.  Also gifted was a special honor to Bonnie Meltzer for the ten years in which she tended to countless large projects and small details in service to the organization as director of communications and “right-hand person”.

In the words of Kelly Neidig, “The reception at city hall was a great example of how Portland Open Studios unites the community with artist.  It was a fun reception, I loved talking to all of our artists and meeting new artists.”   She speaks to the heart of why Portland Open Studios was honored by the city, as does Kindra Crick who helped organize the show: “It was wonderful to celebrate ten years of an organization that shows people the behind the scenes of how art is made.“  Portland Open Studios is a truly unique opportunity in experiential education.

photo by Claudia Howell

We would like to give a special thank-you to the excellent music provided by Jim Boydston, Daryl Davis, and Steve Remington of Manzanita. Many thanks also to our generous sponsors: Storyteller Wine Co, Full Sail Brewing Co, and Artemis Foods, Inc

Thanks to all the artists, past, present, and future, who attended the opening, and those who purchased art!  Twenty percent of the proceeds from the show go directly to the Kimberly Gales Scholarship for young artists.  Please consider supporting the 2010 Portland Open Studios tour by becoming a sponsor and receive ten Tour Guides to the two weekend event in October!

Artist Barbara Pannakker photo by Claudia Howell

This unusual show could not have been possible without Pollyanne Birge from the Mayor’s Office and the dedication of  Kindra Crick and Shawn Demarest, board members who went above and beyond to create a memorable show.  Careen Stoll provided some last-minute assistance with the press.  There were also numerous volunteers before, during, and after the show. Many thanks to all!  The show will remain up in City Hall until March 31st.

photo by Claudia Howell

By Susan Gallacher-Turner

Today’s  the deadline to apply for Portland Open Studios.  You don’t want to miss out on the chance 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, here’s what other artists say about their Portland Open Studios experience.

Opportunities from Portland Open Studios:

“I received numerous requests to teach a printmaking workshop. I also sold a number of framed and unframed prints.”  Shawn Demarest

“I was picked up by a downtown gallery after he visited my studio during the POS tour and faithfully and religiously showcased my artwork in his gallery for years until finally shutting the door.  And I have received several commission assignments following visitors to my studio during Portland Open Studios tour.” Allen Schmertzler

“I have become very comfortable with demonstrating thanks to having POS as a reason to do it and have been asked to show techniques and teach as a result.” Deb Marble

“Participation in Portland Open Studios over three years has resulted in new connections and sales, multiple invitations to participate in shows, articles in Boom, Oregonian, Oregon Home, and several stories on the Portland Open Studios blog. But the best part has been in new friendships with other artists and the confidence I’ve gained in talking about my work.” Shelley Hershberger

Demonstrating for Portland Open Studios:

“I printed a number of copper-plate etchings. This involved inking the plates, and running them through the press. A number of them involved multiple plates. Shawn Demarest

“I tried painting one year and it was impossible to keep acrylic wet and applicable as well as interact so I shifted one year to a live model to demonstrate the sketching and drawing applications of my process. This was very popular. Many people sat and watched, my model was costumed ( mostly in private studio modeling time in the nude ) and this on the site drama resulted in a handful of sales of the work popping off of the drawing board. But, I found it very hard to interact with the public as I was working, and, after paying my model for the 2 days, it turned into a debit experience.  Now, I do quick caricature demos from photo files of famous people and this has worked an efficient, educational, and happy balance for the event. The public loves that magic in caricatures. This year it was Jay Leno looking over David Letterman on a motorcycle while a hot babe was wrapped around Letterman ( following of course his “sex” scandal ).” Allen Schmertzler

“I enjoy figure drawing and have some unusual tools that I combine with standard watercolor equipment. I work rapidly by choice and often do a “finished” piece in 10 minutes or so.” Deb Marble

“I have demonstrated various techniques involved in printmaking. For me, having others in the studio (whom I was teaching) has been the easiest way to do spontaneous demonstrations of immediate interest to visitors. Participating in Portland Open Studios is a multi-tasking marathon: I have learned how to host, talk, listen, demonstrate, gather names, and make sales all at the same time.” Shelley Hershberger

Studio location:

My printmaking studio, Bite Studio, is located in inner SE Portland. The location worked very well as it is easy to find, and parking isn’t a problem.” Shawn Demarest

“Traffic to my studio has been strong despite the more obscure location in the southwest-terwilliger hills-curves neighborhood. Given the proximity to Multnomah Village, which has a good density of artists in the area, I benefit from that relationship. The 2009 tour was definitely down in attendance. Why? Perhaps after being on the tour for 7 years a sort of fatigue and over-exposure has occurred and or the horrible economy played an unfortunate hand, or some other spurious correlation was at work?” Allen Schmertzler

“My studio is over my garage, accessed by a staircase. Obviously not appropriate for disabled people, otherwise fine. Not being inside my house helps, less of a problem for family or for security concerns. We do have “stuff” in the garage–fishing and sport equipment, tools–the very first time I hung a sheet to cover all that but have never bothered again. Such nice people come on an art tour!” Deb Marble

“My studio is in Portsmouth (North Portland). Proximity to other participating artists created a cluster that definitely helped draw a crowd. If your studio is isolated, encourage other artists nearby to participate for everyone’s benefit.” Shelley Hershberger

Remember today is the deadline…March 15th!

The Portland Love Show began in February 2006 at Launch Pad Gallery with the goal of creating a safe and engaging space to highlight the many different types and attitudes that abound about Love.  Now in it’s fifth year, it has outgrown that eastside Portland gallery space, and comfortably  shows over 300 artists in the Olympic Mills Commerce Center.

The February 12th opening night filled the large space with hundreds of people enjoying the art, live music and potluck spread of food.  Both the opening and closing events are free and open to the public and guests are encouraged to bring a non-perishable food item to donate the Oregon Food Bank.

The Friday March 12th Closing Party promises to be just as exciting and is  from 7:00 pm – 12:00 am, at the Olympic Mills Commerce Center:  107 SE Washington St., Portland, OR.

Kindra Crick's encaustic mixed-media

Upper left, 'Tied' by Kindra Crick in encaustic. Photo by Alex Crick.

Many present and former Portland Open Studios’ artists show work in this once a year salon style exhibition.  Theresa Andreas-O’Leary, Kindra Crick, Shawn Demarest, Adrienne Fritze, Jason Kappus, Ryan Kennelly, Bonnie Meltzer, Mark Randall and Kelly Williams are represented from the 2009 tour and Chris Haberman, Toji Kurtzman, Amelia Opie, Shanon Playford, Sam Roloff, Amy Stoner, Quin Sweetman and Anna Todaro from past tours.

Bonnie Meltzer

'Past & Future Loves' by Bonnie Meltzer. Photo by kerosene rose.

The theme of Love inspires works that ranges from love to lust, representational to abstract, and serious to humorous.  There are many clever plays on this theme along with some creative interactive works.  If you have not been to this event, you will not want to miss the closing party that goes from 7:00 pm – 12:00 am, this Friday March 12th.

Ryan Kennelly

'H1N1' by Ryan Kennelly. Photo by kerosene rose.

Mark Randall

Mark Randall's large mixed-media work, center. Photo by kerosene rose.

The event is put on by Launch Pad Gallery and Portland City Art who also share the love by collecting cans of food for the Oregon Food Bank throughout month and at the closing on Friday, March 12th and by donating 10% of all bar sales to American Red Cross Haiti Disaster Relief.

You may RSVP to The 5th Annual Portland Love Show on Facebook or find more artwork from the show and information at

See more images of the Love Show, before the event opened, from kerosene rose on flickr.

Celebrate local art on First Thursday, March 4th when Mayor Sam Adams will honor Portland Open Studios with a Proclamation and unveil the organization’s 10th Anniversary Purchase Prize gift to the City of Portland. The 10 x 10 Show (all art 10 inches or less, in all media) features artworks by over 80 artists in the 2009 Portland Open Studios tour.

Click on the thumbnail to see the official document!

The event is free and open to the public. Artwork is for sale with 20% going to the Kimberly Gales Scholarship fund for young artists. Enjoy music, refreshments, and this rare opportunity to see an array of art by Portland Open Studios’ artists.

For a decade, local artists have created opportunities in experiential education by opening their doors to the curious public and sharing their working methods. Portland Open Studios is a unique and mutually beneficial exchange of excitement and learning about art.

Portland Open Studios is being recognized and honored by the City of Portland because of its commitment to provide art education to all members of our community, adults and children alike, and for its dedicated support of local working artists.

Visitors on the tour constantly encounter treasured and unique educational opportunities. For example in 2007, Justine Avera visited the studio of that year’s scholarship winner Jennifer Mercede with her family. Justine wrote later that Anne was so moved by the experience that when the family got home, she and her daughter painted together for hours, and that those paintings in turn became the basis of Justine’s new artwork.

Portland Open Studios has been a springboard for many of its artist’s careers.  It seeks to incorporate a wide variety of voices and media, thereby representing a cross-section of the visual arts in Portland.  It fosters growth of all participating artists through workshops and encourages emerging artists to participate by offering the Kimberly Gales Scholarship.  This scholarship is available to applicants between the ages of twenty and thirty, waives the tour’s membership fee, and pays a $100 stipend.  Recipients’ work is highlighted in the Tour Guide, providing exposure for the young artists.

In 2009, for the tenth year anniversary, an exciting mentorship program was introduced, connecting art students in the public high schools with participating artists. Over twenty artists on the tour mentored forty-five students, giving them an inside view of their studio and business practice.  These young apprentices may become the future creative capital of Portland.

Many thanks to our generous sponsors: Storyteller Wine Co, Full Sail Brewing Co, and Artemis Foods, Inc

Join us to celebrate a decade of accomplishments in the local Portland arts community on March 4th at a Portland City Hall ceremony and exhibition. Refreshments generously provided by Storyteller Wine, Full Sail Brewing Co, and Artemis Foods.  Music entertainment includes Jim Boydston, Daryl Davis, and Steve Remington of Manzanita.
All past, present and future Portland Open Studios‘ artists and supporters are encouraged to attend.

If you wish to RSVP or invite others, you can do so via Facebook

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

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 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,
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

Portland Open Studios artist, Helen Hiebert was awarded a 2010 Regional Arts & Culture Council Project Grant. With this grant, Helen will produce a suite of six handmade paper and string drawings in an edition of ten which are based on images of knots. Each collection of six drawings will be housed in a clamshell box commissioned by a well-known box maker and letterpress printer, Sandy Tilcock of Lone Goose Press in Eugene. One suite will be framed and exhibited along with other artwork by Helen at 23 Sandy Gallery in November 2010. In addition, Helen will conduct a free lecture, demonstration and papermaking workshop.

‘Double Knot’ by Helen Hiebert
The installation called the ‘Mother Tree’ is a life-size handmade paper dress created on site at the Portland Building from February to March. Day after day, the artist and a sewing circle will gather in the Portland Building and crochet more strands which will pile up on the floor, filling the area as a tree’s roots would fill the ground beneath it. The strands, as they cascade to the floor, will turn into roots symbolizing the mother as a provider and nurturer throughout human development. Helen’s installation is being created from now until March 2010 as part of the Portland Building’s Installation Space program funded by RACC.

‘Mother Tree’ by Helen Hiebert

Stop by and view the installation before the 10×10 City Hall show, Thursday, March 4th. The Portland Building, 1120 S.W. 5th Avenue is open until 6 pm weekdays.

By Susan Gallacher-Turner

Three shows featuring current and past Portland Open Studios artists are open this weekend. Just in time for Valentines Day, you can visit and select a work of art for your sweetheart.

Sculpture by Joni Mitchell

Showing at the new Amato’s Gallery in Beaverton are many past and present Portland Open Studios artists including Diane Ahrendt, Brenda Boylan, Chris Helton, Gretha Lindwood, Joni Mitchell, Michael Orwick, Joe Pogan and Donna Sanson.

Painting by Gretha Lindwood

Amato’s Gallery is opening in the heart of Beaverton just in time for Valentine’s Day. Featuring fine art from the Northwest in a wide variety of media including pastels, water color and oil paintings, glass, ceramics and sculpture in stone and metal, this new gallery is located inside Amato’s Floral, Wine and Gifts at 12320 SW 1st in Beaverton. The opening reception is Friday, February 12th from 5:30pm to 9pm.

Sculpture by Joe Pogan

Amato Gallery Opening – February 12th from 5:30-9:00pm
Featuring Diane Ahrendt, Brenda Boylan, Chris Helton, Gretha Lindwood, Joni Mitchell, Michael Orwick, Joe Pogan and Donna Sanson.
Amato Gallery
12320 SW 1st Street, Beaverton
Gallery hours: Monday-Friday 10-5pm, Saturday 10-4pm

Also around town this weekend and throughout February are two other gallery shows featuring Portland Open Studios artists Sara Swink and Jill Torberson.

Sculpture by Sara Swink

The Heart of the Matter 2 through February 21st
Featuring Sara Swink and Jill Torberson
Guardino Gallery
2939 NE Alberta Street, Portland
Gallery hours: Tuesday 11-5pm, Wednesday-Saturday 11-6pm, Sunday 11-4pm

Erotica-Be My Naughty Valentine through February 27th
Featuring Sara Swink
Beet Gallery
1720 NW Lovejoy, Portland
Gallery hours: Tuesday-Saturday 11-5:30pm

By Susan Gallacher-Turner

Pictured above: Tien-chu Loh, Sunny Smith, Jane Levy Campbell, Suzy Kitman

Sponsored by the Beaverton Arts Commission, the 28th Annual Visual Arts Showcase is an annual exhibition of Oregon art. Over 400 works were submitted for the show and out of the 114 selected fine art pieces, 14 are from past and present Portland Open Studios artists.

Featured in the show are paintings from Theresa Andreas-O’Leary, Jane Levy Campbell, Christine Helton, Suzy Kitman, Sunny Smith, Donald Griffith, Tien-chu Loh, and Tupper Malone. There are pastels by Brenda Boylan and Michael Fisher as well as a beautiful colored pencil by Berle Bledsoe. Also on exhibit are sculptural works by Susan Gallacher-Turner, Joni Mitchell and Cynthia Morgan.

Pictured above: Brenda Boylan, Susan Gallacher-Turner, Christine Helton, Cynthia Morgan, Tupper Malone, Joni Mitchell

The Showcase runs from February 7-20 at the Beaverton City Library in meetings rooms A & B, Monday-Thursday 10-9, Friday 10-6, Saturday 10-5 and Sunday 1-5.