Weaving Space


Restoring the Breath– Sacred Relationship, CCNA Portland Art Museum, courtesy Portland Art Museum.

It’s easy to think of sculpture as art in three dimensions. But at root, sculpture is about space.

Walking into the Center for Contemporary Native Art gallery at the Portland Art Museum to see the Salish weaving show Restoring the Breath— Sacred Relationship, I wasn’t immediately struck by the use of space in the way that I would be at a more traditional exhibition of sculpture. And yet, the space is in the room. Continue reading


Lauren Anderson Sculpture

Lauren Anderson – The Piano in the Room – courtest of Permanent Collection.

Two years ago Anthony B. Creeden & Julia V. Hendrickson started the house gallery Permanent.Collection on the bustling East Side of Austin. Since then, Permanent.Collection has presented seven exhibitions pairing artists from Texas with artists from Creeden and Hendrickson’s last home, Chicago. With a strong belief in the platform of experimental spaces and the power of connecting artists based in disparate places, Permanent.Collection has proven to be an incredibly important presence in the Austin arts community. Continue reading

The Plough and Other Stars


Riccardo Arena, VAVILON I Solovki Island – Project C. Installation image. Photo by writer.

Whilst the concept suggests a future utopian/dystopian knife-edge, the pieces in “The Plough and Other Stars” use the benefit of hindsight in working with death alternatives, taking in areas such as time travel, fantastical exploration, space travel and non-linear views of humanity. The four gallery-based works refer to events that exploded new pockets of knowledge within a collective consciousness; once viewed in retrospect, however, they show issues in how they were moulded by their receptive environments. Continue reading

Updates from Emily’s studio at Mana

Gold-leafed corn

Gold-leafed corn

The past month in the studio can be labeled as a season of risk-taking as I created “art” in the form of reenacting a Mexican food process of cooking masa, manipulating corn into various forms, and reflecting on the research that has informed these new directions. For me, the works that I am currently making function as studies searching for complete thoughts. The desire behind these works is simply to connect with a history to which I belong via a not-so-distant lineage. Continue reading

Update from Katie’s studio at Mana


Since my previous blog post I have been working on several projects and I am happy to report that some are completed! The series of metal parochial collars that I started at the beginning of this residency have been assembled and ready to exhibit. I have been working with the Keating Foundry at Mana contemporary to cast aluminum bows for my sculptural metal collars. I completed chasing for all 12 of my cast aluminum bows as well as patinating them. I finished riveting all of them to the collars and now they are all ready to be documented. My very good friend and frequent collaborator Anna Margush will be flying in from San Francisco to help me document all of the collars I have created. Continue reading

Is That an Insult?


It sometimes seems as though being an artist gives the rest of the world a license to be insulting, if unintentionally. Can you really make a living from this? Is that a cat? Could you do that in yellow? Wouldn’t it look better flipped on its side? Artists who sell directly to the public regularly face those and other questions and comments that seemingly denigrate their professionalism and their art. What’s more, the same questions get asked repeatedly by different people at exhibitions and fairs, which could turn sensitive souls sarcastic and mocking, hardly a good way to engender sales. Continue reading

In Review: William Kentridge – Thick Time


The Refusal of Time with collaboration of Philip Miller, Catherine Meyburgh and Peter Galison Film Still, 2012. 5-channel video projection, colour, sound, megaphones, breathing machine 30 minutes Courtesy William Kentridge, Marian Goodman Gallery, Goodman Gallery and Lia Rumma Gallery

William Kentridge is an inescapably South African artist, born in Johannesburg in 1955 during the apartheid era. His parents, both attorneys, represented some of those marginalised by the racist regime of segregation implemented by the National Party in 1948, and finally defeated in 1994 with the election of celebrated African National Congress leader Nelson Mandela as President. This history casts a long shadow over his work, as it does with so many other facets of life in South Africa, and commentators have pointed out that a broad understand of the nation’s complicated (and often traumatic) history is something of a prerequisite for understanding much of his practice.  Continue reading