Podcasts about Portland Art Museum

Portland artist and activist Isaka Shamsud-Din has captured the lives and histories of African Americans in paintings throughout his life. He draws on his experiences growing up in Portland for his work. His exhibit, “Rock of Ages,” is currently on display at the Portland Art Museum. We spoke to him in January 2020. As reported earlier by Oregon ArtsWatch, Portland artist, educator and activist Isaka Shamsud-Din has died. The arts and education nonprofit Don’t Shoot Portland announced earlier this month that the artist had entered hospice care. Shamsud-din had been ill with cancer for some time. We listen back to a conversation we first aired in January 2020 with Shamsud-Din when his exhibit, “Rock of Ages,” was on display at the Portland Art Museum.  

The Portland Art Museum Center for an Untold Tomorrow (PAM CUT) has acquired the Tomorrow Theater in South East Portland, and is curating 25 unique events a month and over 250 unique events a year. Most of the experiences are grounded within the cinematic tradition, but there are usually ways that they are adding more levels of participation, community-building, and immersion. Portland Art Museum will be expanding in November to add even more immersive art and immersive storytelling programming as a part of their Plus Plus month-long festival, and the Tomorrow Theater is serving to onboard Portland audiences into the beginning steps of more immersive, experiential, participatory, and social types of entertainment. I had a chance to speak with director Amy Dotson to get a lot more context of how PAM CUT came about, and their vision for where they want to take it in the future. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

This Day in Maine for Monday, March 31, 2025.

The Portland Mercury's Spring Arts Guide focuses on the alliances that artists and arts organizations are forging throughout the city. Between the rising cost of living and the craziness of our national politics, Portland's creative communities are finding a need to rely on one another more than ever for survival — even when they're competing. Portland Mercury culture editor Suzette Smith walks us through some of the season's best events and the communities behind them.  Discussed in today's episode: The Antipodes at Shaking the Tree Theatre through March 29 Literary Arts Bookstore Mother Foucault's Bookshop Monet's Floating Worlds at the Portland Art Museum through Aug. 10 ja' / buuts' / t'aan (Water / Smoke / Word) at the Portland Institute for Contemporary Art through May 31 Become a member of City Cast Portland today! Get all the details and sign up here.  Who would you like to hear on City Cast Portland? Shoot us an email at portland@citycast.fm, or leave us a voicemail at 503-208-5448. Want more Portland news? Then make sure to sign up for our morning newsletter, Hey Portland, and be sure to follow us on Instagram.  Looking to advertise on City Cast Portland? Check out our options for podcast and newsletter ads at citycast.fm/advertise. Learn more about the sponsors of this March 13th episode: D'Amore Law Portland Bureau of Transportation Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Bend Don't Break, host Aaron Switzer sits down with longtime arts advocate Cate O'Hagan to discuss the impact of public art in Central Oregon. Cate shares insights from her decades-long career in the cultural sector, from her work with the Portland Art Museum and Oregon Symphony to her leadership at Arts Central and beyond.

It's another installment of Spirituality and Politics with Marielena Ferrer. Joining us today is... Lexa Walsh an artist, cultural worker and experience maker.  Her upbringing as the only bad athlete in a family of fifteen in the Philadelphia suburbs, and coming of age in the Bay Area post punk cultural scene of the 1990's informs her interest in alternative lifestyles, economies and communities. With a background in both sculpture and social practice, Walsh makes site specific projects, exhibitions, publications and objects, using an array of materials including ceramics and textiles, employing social engagement, institutional critique, and radical hospitality to question hierarchies, power and value.  She recently relocated from Oakland, CA to the Hudson Valley. The In Between: Tea Talks are series' of intimate facilitated discussions over home cooked meals that bring together conflicting populations of artists, activists, workers, Veterans, civilians, and others in a hospitable environment so each may share their positions in a safe yet open and critical dialogue. The goals of the project are to: Complicate the current good vs, evil/us vs. them narrative while eliciting understanding and extracting nuances from all sides. Engage in local micro politics while placing these issues in the larger current political landscape.Create a space for hospitable democracy.Share understanding about issues affecting our communities to a broader audience.Walsh founded the experimental music and performance venue the Heinz Afterworld Lounge, and co-founded and conceived of the all women, all toy instrument ensemble Toychestra.  Walsh worked for many years as a curator and administrator at CESTA, an international art center in Czech republic, whose team created radical curatorial projects to foster cross-cultural understanding. She founded Oakland Stock & Soup for Social & Racial Justice, and the Bay Area Contemporary Art Archive. She is a graduate of Portland State University's Art & Social Practice MFA program and was Social Practice Artist in Residence in Portland Art Museum's Education department. She was a recipient of Southern Exposure's Alternative Exposure Award, the CEC Artslink Award, the Gunk Grant and was a de Young Artist Fellow. Walsh has participated in projects, exhibitions and performances at Apexart, di Rosa Center for Contemporary Art, FOR-SITE, Grand Central Art Center, Kala Art Institute, Marin Museum of Contemporary Art, NIAD, Oakland Museum of California, SFMOMA, Smack Mellon, Walker Art Center, Williams College Museum of Art, Yerba Buena Center for the Arts, and has done several international artist residencies, tours and projects in Europe and Asia.Lexa and Marielena are co-hosting a Tea Talk at Unison Arts on Saturday, March 1st from 3-5pm. There's also a Destroy to Create event happening at Unison this Saturday, February 15th. More info and to RSVP here!Here are your Full Moon Vibes!Today's show was engineered by Ian Seda from Radiokingston.org.Our show music is from Shana Falana!Feel free to email me, say hello: she@iwantwhatshehas.org** Please: SUBSCRIBE to the pod and leave a REVIEW wherever you are listening, it helps other users FIND IThttp://iwantwhatshehas.org/podcastITUNES | SPOTIFYITUNES: https://itunes.apple.com/us/podcast/i-want-what-she-has/id1451648361?mt=2SPOTIFY:https://open.spotify.com/show/77pmJwS2q9vTywz7Uhiyff?si=G2eYCjLjT3KltgdfA6XXCAFollow:INSTAGRAM * https://www.instagram.com/iwantwhatshehaspodcast/FACEBOOK * https://www.facebook.com/iwantwhatshehaspodcast

Francine Tint In the Studio Over more than five decades, Francine Tint has created a remarkable body of work. Her paintings display an exhilarating freedom of execution combined with an original and frequently surprising color sensibility, varying in size from 10 inches to nearly 20 feet. Her brushwork ranges from languorous and undulating swaths of paint to aggressive and agitated gestures. Her works speak of a powerful and unwavering commitment to the visual and emotional vocabulary of abstract painting, and they embody the artist's personal and deeply held belief in the power of intuitive creation. ​ Tint's direct heritage may be traced to Abstract Expressionism and Color Field painting. Her admiration for those artists is enormous, but she also reaches more deeply into art history. Artists who are touchstones for Tint include Édouard Manet, Francisco Goya, Pompeian frescoes from the Roman Empire, and especially J.M.W Turner for his reliance on inspiration and radical painting techniques. She is particularly fond of 16th-century Mannerist painters; Jacopo Pontormo's idiosyncratic colors and anatomical and spatial distortions fascinate Tint. She also has a deep interest in Asian brush paintings. Recently, Tint has been mining her books on paleolithic cave paintings where she is captivated by their creators' profound identification with the animals they depicted, an identification which extends to handprints stenciled directly onto the cave walls. She is reminded of the foot and handprints that appear in her paintings. ​ Tint's work has been exhibited in over thirty solo shows in the United States and Europe, and is in the permanent collections of numerous museums including the Clement Greenberg collection at the Portland Art Museum and the Krannert Art Museum in Chicago. Her work is in private and corporate collections including Pepsi Co. and Mount Sinai Hospital. Francine Tint, Golden Flutter, 2024, Acrylic on canvas, 54 X 39 in. (137.2 x 99.1 cm), Copyright Upsilon Gallery Francine Tint, Impressions, 2024, Acrylic on canvas, 52 1/2 x 36 in. (133.3 x 91.4 cm), Copyright Upsilon Gallery Francine Tint, Impressions, 2024, Acrylic on canvas, 52 1/2 x 36 in. (133.3 x 91.4 cm), Copyright Upsilon Gallery

Photo by Brad Trone Maja Ruznic (b. Bosnia and Herzegovina, 1983) fuses personal narrative, psychoanalysis, mythology, and esoteric thought into vivid paintings that hybridize figuration and abstraction. Painting variably with oils and gouache on immense and small scales alike, she extracts order from layers of diluted pigment. Ruznic's practice is informed by her studies, from Slavic shamanism and alchemy to Jungian psychoanalysis and sacred geometry. Imbued with a discordant beauty, her compositions emerge without a premeditated outcome. Ruznic's introspective, mystical approach places her into a lineage of visionary painters including Paul Klee and Hilma af Klint. Ruznic lives in Placitas, New Mexico. Recent solo exhibitions include those held at Karma (New York, 2024, Los Angeles, 2023); Tamarind Institute, Albuquerque (2022); Karma, New York (2022); and Harwood Museum of Art, Taos, New Mexico (2021). Ruznic's work is held in the collections of the Crocker Art Museum, Sacramento, California; Dallas Art Museum; EMMA – Espoo Museum of Modern Art, Espoo, Finland; Harwood Museum of Art, Taos, New Mexico; Jiménez–Colón Collection, Puerto Rico; Portland Art Museum, Oregon; Rachofsky House, Dallas; and San Francisco Museum of Modern Art. Her work was recently on view in the Whitney Biennial 2024: Even Better Than the Real Thing at the Whitney Museum of American Art in New York. Maja Ruznic, On the Other Side, 2023, Oil on canvas, 100 x 150 x 2 1/2 inches, 254 x 381 x 6.35 cm. © Maja Ruznic. Courtesy the artist and Karma Maja Ruznic, Arrival of Wild Gods II, 2023, Oil on canvas, 100 x 150 x 2 1/2 inches, 254 x 381 x 6.35 cm. © Maja Ruznic. Courtesy the artist and Karma Maja Ruznic, Geometry of Sadness, 2023, Oil on canvas, 100 x 150 x 2 1/2 inches, 254 x 381 x 6.35 cm. © Maja Ruznic. Courtesy the artist and Karma Maja Ruznic, Arrangement of a Nervous System, 2023, Gouache on paper, 16 3/8 x 11 5/8 inches, 41.59 x 29.53 cm. 24 x 29 1/4 inches, 60.96 x 74.30 cm (framed). © Maja Ruznic. Courtesy the artist and Karma

When embarking on your mokuhanga journey, whether through making or collecting, one name stands out above the rest: (pause) Yoshida. The Yoshida family of artists have helped create some of the most important and exciting mokuhanga prints of the last 100 years. Their designs, techniques, and marketing transformed the perception of prints in Japan and around the world.   I speak with Dr. Monika Hinkel, Lecturer in the Arts of East Asia at SOAS (the School of Oriental and African Studies) at the University of London and an Academic Member of the Japan Research Centre. Dr. Hinkel is also the curator of the current exhibtion (at the time of recording)  about the Yoshida family of artists, titled Yoshida: Three Generations of Printmaking, being held at the Dulwich Picture Gallery in London, England.   Dr. Hinkel joins me to discuss the Yoshida family, from Hiroshi to Ayomi, the exhibition at the Dulwich Picture Gallery—the first of its kind in the United Kingdom—the Yoshida family's history, and their impact on the global art community.   Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Dulwich Picture Gallery - located in London, England the Dulwich Picture Gallery is the worlds first public "purpose-built" public art gallery founded in 1811.  Robert Rauschenberg (1925–2008) - was an American artist known for his innovative and boundary-defying work that blurred the lines between painting, sculpture, and everyday life. Emerging in the 1950s, Rauschenberg challenged the conventions of traditional art with his "Combines," a series of works that incorporated found objects, photographs, and non-traditional materials into paintings, creating dynamic, multi-dimensional pieces. Characterized by a spirit of experimentation and a desire to break down the distinctions between art and the real world, Rauschenberg played a crucial role in the transition from Abstract Expressionism to Pop Art. Charlene (1954) mixed media Pop Art - was an art movement from the 1950s and 1960s that incorporated imagery from popular culture, such as advertising, comic books, and consumer goods. It challenged traditional art by blurring the lines between high art and everyday life. Key figures like Andy Warhol and Roy Lichtenstein used bold colors and familiar icons to both celebrate and critique consumer culture, making Pop Art one of the most influential movements in modern art. Yoshida: Three Generations of Japanese Printmakers - is the current exhibition at the Dulwich Picture Gallery from June 19, 2024 -  November 3, 2024.  Yoshida Hiroshi (1876-1950) - a watercolorist, oil painter, and woodblock printmaker. Is associated with the resurgence of the woodblock print in Japan, and in the West. It was his early relationship with Watanabe Shōzaburō, having his first seven prints printed by the Shōzaburō atelier. This experience made Hiroshi believe that he could hire his own carvers and printers and produce woodblock prints, which he did in 1925.  Kumoi Cherry Tree 23" x 29 1/8 " (1926) Yoshida Fujio (1887-1997) - the wife of Hiroshi Yoshida and the mother of Tōshi Yoshida (1911-1995) and Hodaka Yoshida. Fujio was so much more than a mother and wife. She had a long and storied career as a painter and printmaker. Fujio's work used her travels and personal experiences to make her work. Subjects such as Japan during The Pacific War, abstraction, portraits, landscapes, still life, and nature were some of her themes. Her painting mediums were watercolour and oil. Her print work was designed by her and carved by Fujio.  Flower - B (1954) 15 3/4" x 10 5/8" Yoshida Tōshi (1911-1995) - was the second child of Hiroshi Yoshida and Fujio Yoshida, although the first to survive childhood. Beginning with oil paintings and then apprenticing under his father with woodblock cutting. By 1940 Tōshi started to make his mokuhanga. After his father's death in 1950, Tōshi began to experiment with abstract works and travel to the United States. Later travels to Africa evolved his prints, inspiring Tōshi with the world he experienced as his work focused on animals and nature.  American Girl A (1954) 15 7/8" x 11 1/8" Yoshida Chizuko (1924-2017) - was the wife of painter and printmaker Hodaka Yoshida. Beginning as an abstract painter, Chizuko, after a meeting with sōsaku hanga printmaker Onchi Kōshirō (1891-1955), Chizuko became interested in printmaking. Chizuko enjoyed the abstraction of art, and this was her central theme of expression. Like all Yoshida artists, travel greatly inspired Chizuko's work. She incorporated the colours and flavours of the world into her prints. Jazz (1953) 15 3/4" x 11" Yoshida Hodaka (1926-1995) - was the second son of woodblock printmaker and designer Hiroshi Yoshida (1876-1950). Hodaka Yoshida's work was abstract, beginning with painting and evolving into printmaking. His inspirations varied as his career continued throughout his life, but Hodaka Yoshida's work generally focused on nature, "primitive" art, Buddhism, the elements, and landscapes. Hodaka Yoshida's print work used woodcut, photo etching, collage, and lithography, collaborating with many of these mediums and making original and fantastic works. Outside of prints Hodaka Yoshida also painted and created sculptures. Abstract (1958) 11" x 15 7/8" Yoshida Ayomi - is the daughter of Chizuko and Hodaka Yoshida. She is a visual artist who works in mokuhanga, installations and commercial design. Ayomi's subject matter is colour, lines, water, and shape. Ayomi's lecture referred to by Jeannie at PAM can be found here. She teaches printmaking and art. You can find more info here.  Spring Rain (2018) woodblock installation  Kawase Hasui (1883-1957), a designer of more than six hundred woodblock prints, is one of the most famous artists of the shin-hanga movement of the early twentieth century. Hasui began his career under the guidance of Kaburaki Kiyokata (1878-1971), joining several artistic societies early on. However, it wasn't until he joined the Watanabe atelier in 1918 that he began to gain significant recognition. Watanabe Shōzaburō (1885-1962) commissioned Hasui to design landscapes of the Japanese countryside, small towns, and scenes of everyday life. Hasui also worked closely with the carvers and printers to achieve the precise quality he envisioned for his prints. Spring Rain at Sakurada Gate (1952) 10 3/8" x 15 3/8" Shōzaburō Watanabe (1885-1962) - was one of the most important print publishers in Japan in the early 20th Century. His business acumen and desire to preserve the ukiyo-e tradition were incredibly influential for the artists and collectors in Japan and those around the world. Watanabe influenced other publishers, but his work in the genre is unparalleled. The shin-hanga (new print) movement is Watanabe's, collecting some of the best printers, carvers and designers to work for him. A great article by The Japan Times in 2022 discusses a touring exhibition of Watanabe's work called Shin Hanga: New Prints of Japan, which can be found here.    Impressionism - was an art movement that emerged in France in the late 19th century, characterized by a focus on capturing the fleeting effects of light and color in everyday scenes. Instead of detailed realism, Impressionist artists like Claude Monet, Pierre-Auguste Renoir, and Edgar Degas used loose brushwork and vibrant colors to convey the atmosphere and momentary impressions of their subjects. This movement broke from traditional art by often painting en plein air (outdoors) and prioritizing personal perception over exact representation, leading to a revolutionary shift in modern art. Wassily Kandinsky (1866–1944) - was a key figure in the development of abstract art, known for using color and form to express emotions and ideas without representational content. His influential writings and innovative approach helped shape modern art, making him a central figure in movements like Expressionism and the Bauhaus. Stars (1938) 13 7/8" x 10 1/4" colour lithograph  Charles Freer (1854–1919) - was an American industrialist and art collector, best known for his significant contributions to the field of art through the establishment of the Freer Gallery of Art. Freer was a wealthy entrepreneur who made his fortune in the railroad industry. In his later years, he became an avid collector of art, particularly Asian art, including Chinese and Japanese ceramics, paintings, and sculptures. Nakagawa Hachiro (1877-1922) - was a close friend of Yoshida Hiroshi and traveled to the United States together for the first time in 1899. He was a yōga painter and showed primarily in Japan. Landcape in The Inland Sea 13.94" x 20.87" colour on watercolour  The Great Kanto Earthquake - struck Japan on September 1, 1923, with a magnitude of approximately 7.9. It devastated the Kanto region, including Tokyo and Yokohama, causing widespread destruction and fires that led to the deaths of over 100,000 people. The earthquake also resulted in significant infrastructure damage, homelessness, and economic disruption. In the aftermath, the disaster prompted major rebuilding efforts and urban planning changes. Additionally, the earthquake led to social and political unrest, including widespread anti-Korean sentiment, as rumors falsely blamed Korean immigrants for the disaster. Utagawa Hiroshige (1797-1858) - born in Edo, Hiroshige is famous for his landscape series of that burgeoning city. The most famous series being, One Hundred Famous Views of Edo (1856-1859), and the landcape series, Fifty-Three Stations of the Tōkaidō (1833-1834). His work highlights bokashi, and bright colours. More info about his work can be found, here.  Thirty Six Views of Mount Fuji No. 21 Lake at Hakone 14" x 9 1/4" Kawase Hasui (1883-1957) - a designer of more than six hundred woodblock prints, Kawase Hasui is one of the most famous designers of the shin-hanga movement of the early twentieth century. Hasui began his career with the artist and woodblock designer Kaburaki Kiyokata (1878-1971), joining several artistic societies along the way early in his career. It wasn't until he joined the Watanabe atelier in 1918 that he really began to gain recognition. Watanabe Shōzaburō (1885-1962) had Hasui design landscapes of the Japanese country-side, small towns, and everyday life. Hasui also worked closely with the carvers and printers of his prints to reach the level Hasui wanted his prints to be.  Selection of Views of the Tokaido (1934) Bishu Seto Kilns 15 3/4"  x 10 3/8" Itō Shinsui (1898-1972) - Nihon-ga, and woodblock print artist and designer who worked for print publisher Watanabe Shōzaburō (1885-1962). Shinsui designed some of our most famous shin hanga, or “new” prints of the early 20th century. One of my favorites is “Fragrance of a Bath” 1930. Kasumi Teshigawara Arranging Chrysanthemums (1966) 21 7/8" x 16 1/2" Katsushika Hokusai (1760-1849) - is one of the most famous Japanese artists to have ever lived. Hokusai was an illustrator, painter and woodblock print designer. His work can be found on paper, wood, silk, and screen. His woodblock print design for Under The Wave off Kanagawa (ca. 1830-32) is beyond famous. His work, his manga, his woodblocks, his paintings, influence artists from all over the world.  Tama River in Musashi Province from 36 Views of Mount Fuji (1830-32) 9 7/8" x 14 7/8"  Boston Museum of Fine Arts - a museum with a rich history with Japanese artwork, especially woodblock prints. It holds the largest collection of Japanese art outside of Japan. Many of their woodblock prints are held online, here. A video on YouTube found, here, describing the MFA's history, and its collections.  Onchi Kōshirō (1891-1955) - originally designing poetry and books Onchi became on of the most important sōsaku hanga artists and promotor of the medium. His works are highly sought after today. More info, here. Nijubashi Bridge to the Imperial Palace from Scenes of Lost Tokyo (1945) 7.8" x 11.1" published by Uemura Masuro Tarō Okamoto (1911–1996) was a prominent Japanese artist known for his avant-garde works and dynamic use of color and form. His art, which includes painting, sculpture, and public installations like the "Tower of the Sun," often explores themes of chaos and modernity. Okamoto was influential in Japanese contemporary art and also made significant contributions as a writer and cultural commentator. More info, here.  Seashore (1976) lithograph 5.55" × 22.05" Oliver Statler (1915-2002) -  was an American author and scholar and collector of mokuhanga. He had been a soldier in World War 2, having been stationed in Japan. After his time in the war Statler moved back to Japan where he wrote about Japanese prints. His interests were of many facets of Japanese culture such as accommodation, and the 88 Temple Pilgrimage of Shikoku. Oliver Statler, in my opinion, wrote one of the most important books on the sōsaku-hanga movement, “Modern Japanese Prints: An Art Reborn.” St. Olaf College - is a private liberal arts college located in Northfield, Minnesota. Founded in 1874 by Norwegian-American settlers, it has a strong emphasis on a comprehensive liberal arts education, integrating rigorous academics with a commitment to fostering critical thinking, leadership, and global citizenship. The college is known for its vibrant community, strong programs in the humanities, social sciences, and natural sciences, and its affiliation with the Evangelical Lutheran Church in America (ELCA). St. Olaf is also recognized for its strong music program, including its acclaimed choir and music ensembles. More info, here. The Detroit Institute of Arts (DIA) -  is an art museum in Detroit, Michigan, founded in 1885. It is known for its extensive collection of artworks from various cultures and periods, including significant American, European, and African art. The DIA is particularly famous for Diego Rivera's Detroit Industry Murals and serves as a major cultural center with diverse exhibitions and educational programs. More info, here.   baren - is a Japanese word to describe a flat, round-shaped disc, predominantly used in creating Japanese woodblock prints. It is traditionally made of a cord of various types and a bamboo sheath, although baren have many variations.    Jeannie Kenmotsu, PhD - is the Arlene and Harold Schnitzer Curator of Asian Art at the Portland Art Museum in Portland, Oregon. She specializes in early modern Japanese art, with a focus on painting, illustrated books, and prints. Her interview with The Unfinished Print about her work about the Joryū Hanga Kyōkai can be found, here.    © Popular Wheat Productions opening and closing credit - by Gordon Lightfoot - Affair on 8th Avenue from the album Back Here On Earth (1968) on United Artists. logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                        

Join us for an inspiring conversation with Jeff Kovel, a pioneer of modern design and founder of Skylab Architecture. Known for his visionary work, including the Artisans Cup exhibition at the Portland Art Museum in 2015, Jeff discusses his journey from graduating with a B.Arch. at Cornell University to shaping Portland's architectural landscape over 25 years with Skylab. His award-winning portfolio spans heli-skiing lodges, urban projects, and national retail designs, reflecting his innovative approach to modern architecture. Instagram: @skylabarchitecture  https://www.instagram.com/skylabarchitecture/ LinkedIn: @skylab-architecture website: www.skylabarchitecture.com

Join us for an inspiring conversation with Jeff Kovel, a pioneer of modern design and founder of Skylab Architecture. Known for his visionary work, including the Artisans Cup exhibition at the Portland Art Museum in 2015, Jeff discusses his journey from graduating with a B.Arch. at Cornell University to shaping Portland's architectural landscape over 25 years with Skylab. His award-winning portfolio spans heli-skiing lodges, urban projects, and national retail designs, reflecting his innovative approach to modern architecture.   Learn more about Skylab Architecture:  Instagram: @skylabarchitecture  LinkedIn: @skylab-architecture Website: www.skylabarchitecture.com

Synopsis Oddity is a morality tale about why you shouldn't cross witchy women. When a blind woman's sister is murdered in a remote country estate, she uses her arcane knowledge and abilities to uncover the true identity of her murderer.  Review of Oddity I really liked this movie. It came under the radar and we almost didn't review it, but I'm glad we did, because I think I actually did like this one better than Longlegs. The film starts out basically with a prologue of what you see in the trailer, and acts as a really taut short film. A Woman answers the door to a creepy one eyed man that says that she's not safe inside and needs to let him in. We are given just enough information to make this situation plausible and build dread. That is a common thread through the film. We are given just enough information to constantly be uneasy and uncertain throughout the whole film. It really is structurally impressive, plot-wise. There isn't a ton of character development, but there is a constant stream of revelations and situations that keep the film engaging.  One criticism may be that there isn't much of an emotional element in the film, the characters all seem very cold. However, each character has enough of a personality and backstory to make their interactions and decisions interesting. There are several moments and lines that had me laughing out loud, including the ending. There were also some really effective jumpscares. On the surface, this movie utilizes a lot of tropes that are crutches for a lot of supernatural horror movies. The spooky dark house. The strange sounds in the darkness. Stretches of tense silence leading up to jump scares. But for some reason, instead of rolling my eyes, I was truly engaged with this movie. I think it's because all of the reality-based elements seem plausible, and all the supernatural elements seem interesting or novel.  I think it's a great movie, and honestly I don't have any real criticisms or anything that bothered me with it.  Score  10/10 Interview with Amber Victoria from The Skeleton Key Odditorium Bryce: Today, we welcome Amber Victoria, owner and operator of the Skeleton Key Auditorium Museum and Oddity Shop in Portland, Oregon. It's a retail shop that specializes in oddities, antiques, curiosities, Gothic art, gifts, crystals, tarot cards, dolls, metaphysical items, clothing, and souvenirs. The auditorium is a historical museum designed to provide intrigue and a better understanding of the human experience through exploring the strange, unusual, and gloomy characteristics of our history. It was recently voted as the runner-up for Portland's Best Museum, just underneath the multi-million dollar Portland Art Museum and OMSI. So, it's pretty high praise for a museum. Anyways, welcome, Amber Victoria! Sydney: Welcome! Amber: Hello. Yay, thank you. Thank you for having me. Bryce: So, Amber, why don't you tell us a little bit about how you got started? What's the story with you and the Skeleton Key? Amber: Well, it kind of started almost 10 years ago. I've always loved old things and was more of a Ren fair kind of person. I was doing immersion events and collected a lot of odd things. Eventually, I started collecting too much stuff, so I began selling items at Curiosities Vintage Mall about nine years ago. It just evolved from there. People really liked my odd things, so I decided to open a brick-and-mortar shop in 2020. And here we are, still doing it. Bryce: So, when did you open the brick-and-mortar shop? Amber: I opened it in 2020 on Belmont. It was a small oddity shop, about 600 square feet. When the lease was up, we moved downtown, and I brought my partner along. We decided to open a museum because there was so much knowledge and so many items. People were always asking questions, and we wanted to educate and preserve these items in a fun, interactive space full of oddities. Bryce: Awesome.

The Portland Art Museum is a phenomenal experience in PDX. If you haven't been, you should go at least once. Many enjoy the exhibits, but now they want EVERYONE to get the full experience and came up with something amazing for the colorblind!!

Ray Terrill | Dance Group has been performing in and around the Twin Cities since Ray relocated in 1994.Originally from the Pacific Northwest, he has extensive experience as performer, choreographer, teacher, presenter and arts program administrator.He started his professional modern dance career as a member of Martha Graham-based Repertory Dancers Northwest in Seattle Washington until relocating to Portland Oregon to work with the Mary Wigman-based modern dance company Oregon Dance Consort. In Portland, he eventually became co-artistic director of the company where he choreographed numerous original works, taught extensively and produced the contemporary dance season Pulse/Impulse for five consecutive years. He also served as guest artist with many well known regional dance companies and choreographed original dances for regional producing organizations.While in Portland, Ray collaborated with other dance professionals to found the statewide Dance Coalition of Oregon, a dance service organization, for which he served as Executive Director from 1991-1994.After relocating to the Twin Cities, Ray spent five seasons as a member of the Christopher Watson Dance Company while establishing the Ray Terrill Dance Group.Proficient in classical modern dance technique he has evolved a choreographic aesthetic described by critics as uniquely spiritual and lyrical on one hand while irreverent and quirky on the other. Aesthetically, Ray is inspired by wide-ranging music styles and is attracted to exploring provocative subject matter and complex emotion. He works hard to mine his material to expose the universal human experience. His more recent work has incorporated video, animation, and text as a backdrop to extend his choreographic ideas.In the Twin Cities, Ray has served as Board President for the Christopher Watson Dance Company, board member for Off-Leash Area, and advisor to the Walker Art Center's Tour Guide Council. Ray is also the sole producer of the annual Dances at the Lake Festival, a free open to the public performance, presented at the Lake Harriet Rose Garden in Minneapolis.Recently retired from his day job, Ray enjoyed a parallel career in the role of executive producer/management consultant to develop media-rich interactive communications and distance learning solutions for top 100 globalcorporations.Numerous government, foundation and corporate arts funding agencies have generously supported his choreography over the years and his dances have been presented in many venues including Seattle's On the Boards, Portland Center for the Performing Arts, Portland Art Museum, International Firehouse Cultural Center,Artquake, Festival of Physical Comedy, Walker Art Center, Weisman Art Museum, Lakeville Performing Arts, Art on the Edge, and Dances at the Lake Festivals. Over the years, Ray has taken advantage of the Fringe Festival performing circuit and has presented his dances at many including Minnesota, Chicago, Providence, Tucson, Salt Lake City and Denver.

How exactly does art fit into the classroom, and how can educators make this happen? Host Colleen Arriola wraps up this season's podcast with ideas and suggestions for expanding the classroom curriculum through art. Summing up Season 14 guests' observations, Colleen reminds us that art provides students ways to communicate thoughts, feelings, and personal experiences that might otherwise be difficult to articulate. Art can complement the standard curriculum by allowing students alternate ways to show what they know. Colleen notes that we don't experience life in separate subjects, and our learning can also be a mixture of forms of understanding and communicating. Educators who don't consider themselves artists should not be discouraged. Colleen describes several simple ways to engage students through art - maybe commenting on a painting related to a subject, sketch notes instead of written notes, collages to pull together aspects of a topic. Educators can access a number of resources for support in these efforts. As Colleen and her guests this season remind us, art massages the brain, helping students learn how to think, not merely what to think.  Resources -  Oregon Arts Education Standards “Goodbye ‘Core Subjects,' Hello ‘Well-Rounded Education'”   What Does a Global Arts Classroom Look Like?  Local art museums are usually great resources for educators. The Portland Art Museum offers a number of educator resources for schools across the state.  OEA Grow is a proud member of the Labor Radio Podcast Network

What film festivals are worth submitting your projects to? Which festivals are legitimate and which ones are scams out for your money? Is it possible to find like-minded creatives to collaborate with, outside of places like L.A. and New York?  In today's episode, No Film School's Charles Haine, GG Hawkins, Jason Hellerman, and guest Amy Dotson discuss: Figuring out what you want to get out of a festival Reasons why small festivals are awesome Things to consider when vetting festivals  What Amy learned interning at Pee-wee's Playhouse Telling your unique story in only one paragraph Why you need to constantly update your bio Moving from New York City to Portland Thinking about cinematic storytelling in new ways Collaborations between local artists and big household names How the Portland Art Museum honors multi-faceted creatives Memorable Quotes “What are you going to the festival for? Is it about Hollywood connections or about sharing your film with an audience?” [3:54] “Being in the mix and connecting with people at a human level is incredibly valuable. You will find those relationships pay off in the long run.” [12:42] “Everybody is different and that's okay. It's not a one-size-fits-all model anymore.” [23:34] “The goal is to meet other like-minded humans that can help push your career and push you as a human forward.” [29:37] “There are stories to be told that are less project-centered and more people-centered.” [46:24] Mentioned How To Spend $10,000 on Film Festival Submissions… Portland Art Museum PAM CUT Sustainability Labs PAM CUT Tomorrow Theater   Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

For painter Ka'ila Farrell-Smith, the land on which she lives and works is the raw material for her art, both metaphorically and literally. In November 2016, ten days spent at Standing Rock, ND protesting the Dakota Access Pipeline and meeting and working alongside fellow Native artists changed her life. Ka'ila, who is Klamath Modoc, learned about the Jordan Cove Energy Projects, a liquid natural gas LNG pipeline that was threatening her ancestral homeland in southern Oregon, and in 2018, she moved to Modoc Point, where she jump-started a new chapter in her activism and artistry journey, scoring a couple of big wins in the first year. She created her “Land Back” series of paintings, in which she started incorporating pigments and minerals from the land around her, and she was successful in blocking the Jordan Cove Energy Project. Now, in 2024, represented by the Russo Gallery in Portland, OR, she's had her work exhibited in museums all over the country, including at the National Gallery in Washington, D.C. One of her pieces is also in the Portland Art Museum's permanent collection. On the activist front, she is suing the State of Oregon for illegal surveillance and is also combating lithium mining in Native regions of Southern Oregon and Nevada.In this interview, Ka'ila explains why she left the artistic hub of Portland to live in rural southern Oregon and describes how her activism and artistry have evolved hand in hand.https://www.kailafarrellsmith.com/

This is a free preview of a paid episode. To hear more, visit chadcrouch.substack.comThe conclusion to the five-part Lower Columbia River soundwalk series brings us back to the Washington shoreline, three miles upriver from where we last visited, at a place called Frenchman's Bar. Though it takes an hour by car to drive from Willow Bar to Frenchman's Bar, they are literally just around the corner from each other on the water. And of course, this is how the birds experience it. Sandhill Cranes, Snow Geese, Canada Geese and others often overnight on Sauvie's Island and forage by day across the river in The Vancouver Lowlands. There are plenty of opportunities to capture fly-bys and fly-overs in field recordings here, but there is also plenty of competition in the soundscape from industrial sources. In addition to the planes, trains, and autos, you'll often hear hulking cargo ships chugging by. If you listen closely you'll hear a crew pounding on the hull of one such ship in the distance, close to the end of our soundwalk. I left it in, half because it was an interesting sound, and half because there's only so much noise one can get rid of without messing it up. Incidentally, I also left in the subtle sound of me setting up a stationary recording rig. I'll share that field recording next week on Soundscape, the companion podcast to Soundwalk, all linked up with this Substack newsletter. I visualize it like an H2O atom! And maybe now is a good time to catch you up, since I don't send emails as often as I'm posting. Recently I shared A Brief History of Soundwalks, taking a look at a couple examples of soundwalks, new and old, and arriving at a tentative answer to the question what is a soundwalk? (In the words of Christopher Robin, "It means just going along, listening to all the things you can't hear and not bothering.”) Also, I shared a soundwalk through the Black Artists of Oregon Exhibit at Portland Art Museum and field recordings of the charming American Dipper at Wildwood and some Trumpeter Swans and allies at Ridgefield NWR. Subscribers enjoy 5 min excerpts while premium subscribers get the complete recordings (10-90 min). Available in your podcast app and here.For the Frenchman's Bar Soundwalk score I used a lot of the same voices that we've been hearing in this batch. In particular, I try to follow the swells of sound from the abundant geese and cranes with synth pads and vibrating drones. This time I swap out the electric pianos for the intimacy and warmth of an acoustic piano and celeste. It's both quiet and loud; a dynamic outing!Frenchman's Bar was named by Donald and David Scherruble who grew up in the area, heirs to the 120 acre farm that would become Frenchman's Bar Park in the late 1990's. The Scherrubles listened to their colorful "Old Frenchman" neighbor speak of his adventures when they were kids on the farm. Don Hamilton penned this story with an ear for the brothers' lively storytelling for The Oregonian September 9, 1985:Frenchman's Bar really has a French connection. That connection is the late Paul Haury, a Frenchman who once deserted a doomed ship,Well before the turn of the century Haury, then 15, was an apprentice river pilot in France hoping to make his living on the sea. He signed on as a cabin boy on a wooden saling ship bound for Vancouver, British Columbia, via Cape Horn. It was to pick up a load of lumber and take it to the Sandwich Islands, now known as Hawaii. But the cabin boy who hoped to make his life sailng was treated poorly."He jumped ship, he did," David Scherruble said. "He used to come to the house and tell my mom and dad about how there was this big old hollow cedar tree and he hid in it while the searchers (from the ship) looked for him. They walked right past him, they did, and didn't even see him. That's the story he told."After about three days the searchers gave up the hunt for their cabin boy and set off for Hawaii. In mid-Pacific the ship hit a fierce storm and went down with all hands.For five years Haury's parents in France believed he was dead. By the time he wrote to tell them he hadn't perished, he had made his way north from Vancouver and was working as a commercial fisherman in Alaska.In 1915 Haury bought five or six acres along the Columbia and moved to the Vancouver area…Interestingly, Haury, who died in 1937 while in his 70s, never saw the stretch of beach named for him. The bar was created by dredge spoils when the Columbia River channel was deepened by the U.S. Army Corps of Engineers in the late 1940s.It might also be worth mentioning that Frenchman's Bar is about a mile upriver from Tena Bar, which in 1980 provided a break in the infamous D.B. Cooper skyjacking mystery. A kid found $5800 in bundles of decomposing cash in the sand. Serial numbers on the bills matched those in the $200,000 ransom. (Funny how that seems like not so much today.) How did these bundles end up buried in the sand at Tena Bar? The FBI put a lot of energy into trying to answer that question but apparently few definitive conclusions could be drawn. There is absolutely no shortage of conjecture online. In 2020, a scientist ruled out quite a few timeline scenarios by testing the bills for diatoms. “Because the bills only had one season of diatoms on them, and did not have diatoms that bloom in the winter, Kaye theorizes that the money came out of the water and landed on the bank of Tena Bar after only a few weeks or months.”Today the Tena Bar area, bound by a sand and gravel company, has No Trespassing signs posted every 10 meters. Well, I guess that's about it for this one. Thanks for being here with me.

The Portland Art Museum is highlighting Black Artists of Oregon collectively for the first time. The exhibition captures Black diasporic experiences in the Pacific Northwest, dating back from the 19th century to present day. That means stories full of love, joy, anger and darkness from almost 70 Black artists. The exhibition is up until March 31.  Featuring:  Intisar Abioto,  artist and curator of Black Artists of Oregon  Eric Slade, OPB Oregon Art Beat producer Jeremy Okai Davis,artist Carrie Mae Weems, artist Otis Kwame Kye Quaicoe, artist Mehran Heard aka Eatcho, artist  

Our five-part experience on the Columbia resumes on the shoreline. We are still on Sauvie Island, walking along the beach of a wooded peninsula called Willow Bar Beach. It's a cool late October morning. The wave action is the wake of small, medium and large ocean-going ships, their lumbering mechanical sounds out of earshot on the far side of the river where the channel runs deep. The wildlife is distant so there is more room for my musical score. Consequently, almost the whole way through there are synthesizer drones that just kind of glow and oscillate slowly like embers in a fire, like the rising and falling of the water, the breaking and ebbing waves. The soundscape in our soundwalk is edited to effect a pre-industrial, quieter time. I'm very curious about that long-gone history, those old ways.A Culture Nearly Washed AwayLast time I wrote about how Sauvie Island was once a cradle of indiginous civilization, perhaps more densely populated than any other Native American site on the continent. Archeologists speculate that the Portland Basin could have once been the home of 30-40,000 Native Americans in the 1700's. When Lewis and Clark came back up the river in 1806 they estimated the Sauvie Island population of some 2400 persons, and described Multnomah as the “remains of a large nation”. This was over decade after the introduction of small pox to the region from the first white traders on the west coast. Within 30 years the island was almost entirely depopulated following waves of malaria. Nevertheless the Chinookan culture survived, and though their tribe is not federally recognized, the diaspora are alive and well with tribe members living in Bay Center, Chinook and Ilwaco in Washington state, and Astoria and Grande Ronde in Oregon, among other places.Willow Bar has only recently joined the mass of Sauvie Island. It was an island group in in the early 1900's Clan-nah-quah was the name given to a village on the south end of the channel separating Willow Bar, about a mile north of Multnomah (máɬnumax̣), the largest village on Sauvie Island.In their “Estimate of the Western Indians”, Lewis and Clark observed: “Mult-no-mah Tribe reside on Wap-pa-tow Island [Sauvie Island] in the mouth of the Multnomah [Willamette River], the remains of a large nation, 6 houses, probable number of souls, 800. Clan-nah-quah's tribe of Multnomah's on Wappato Island below the Multnomars, 4 houses, probable number of souls, 130.” The Clan-nah-quah site is now nearly all washed away, only a bank of broken camp rock on the river shore marks the place. Stone Age of The Columbia (1959)Camp rock, AKA fire-cracked rock, FCR, fire-affected rock, or FAR, is not conspicuous to most folks. It looks like ordinary rock to me. Archeologists spot it on many a Columbia River shoreline as a vestigial reminder of native peoples' inhabitation. These cracked stones and fragments are the result of years of being heated in a fire by humans for cooking and providing a longer lasting heat source. Maps seem to suggest accretion along the shoreline, not erosion, The lumpy sandy landscape near Willow Bar suggests the channel was plugged with dredge spoils sometime in the last 50 years. [Around 1960, actually.] I'm no archeologist but I'm curious to know more. I read a 2021 doctoral student's 300 page thesis project regarding Sauvie Islands' western shore, wherein the author discovered 8 unrecorded archeological sites, 3 of which were determined to have “high archeological value”. I think it's probably important to clarify here that high archeological value means in a nutshell is that the site may contain a multi-decade, or even multi-century refuse pile called a midden. When excavated carefully, a midden can tell a layer-by-layer story of the human habitation. It does not in all likelihood mean that there is a beautiful stone sculpture slumbering away in the soil. Still, Sauvie's Island has a record of artifact discovery that conjures the imagination. The Portland Art Museum mounted a show in 1952 entitled Prehistoric Stone Sculpture of the Pacific Northwest. More recently, in 2005, an even bigger collection was assembled for the People of The River exhibition. (The show produced a sizable book.) It's more or less a once in a generation event to see these sculptures in one room. Hence, the story of the Native American artists of Sauvie Island, and more generally the Chinookan tribes of the Lower Columbia is not well known.Of course, in piecing together the story, it doesn't help that early settlers and relic hunters plundered sites, hoarding and selling artifacts to private collectors before laws prohibited such activity on public lands. Assembling enough pieces from institutional and private collections to mount an exhibition is a daunting task.An interesting story, which reads like lore, comes from amateur archeologist Emory Strong:There is an interesting and well authenticated story about one of the collections made on Sauvies Island. One of the early settlers built his home on the deserted site of one of the larger villages. In clearing the land numerous artifacts were found, and the wash from passing steam-boats and the yearly flood eroded more from the banks.This man picked up and saved the best of them and eventually accumulated a large collection of exceptionally fine stone and bone carvings and chipped pieces. Growing old and not wanting his collection to become dispersed, and as there was then no local museum to donate it to, he buried it in one of his fields. There it yet lies, the best single private collection of Indian work in the west. Some day it may again erode from the bank. Stone Age of The Columbia (1959)Hmm. Not sure how much stock to put into that. On a somewhat related note, though, just a couple days ago I saw this stone bowl on display at the Grande Ronde Chachalu Museum and Cultural Center:There were several very old baskets and woven pieces, three small possibly pre-contact carvings on display, but this was the only larger stone sculpture piece on display. I asked the woman at the front desk about it. She said it was found at a dump. Huh? She didn't have any other details to offer. But as I thought more about it, there was a village site on the Columbia Slough near the old St. Johns Landfill in north Portland (now capped with a prairie habitat). Could that be the dump in this story? Or perhaps it was a variation on the old an it fell off the back of a truck line accompanying repatriation of an illegally collected relic? A mystery… This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit chadcrouch.substack.com/subscribe

This is a free preview of a paid episode. To hear more, visit chadcrouch.substack.comOn February 1st I took in the dual exhibition Africa Fashion & Black Artists of Oregon at the Portland Art Museum. I have to admit it was a darned good idea, particularly on First Thursday when the museum offered free admission. It was a nice change of pace for an outing, and the place was hoppin'! At 10am there was a line of 50 or so folks cued up, and before long high schoolers on a field trip were streaming in. The exhibits were terrific.I keep my binaural recording headphones in my coat pocket, and though I had no intention to make any recordings there, the chatter was so bubbly and reverberant, I thought it might make for an interesting sound portrait. It's worth pointing out that I'm mindful to avoid eavesdropping in a situation like this; instead, aiming for the macro effect, a murmuration of voices.As I often do, I used post production edits to accentuate moods and textural shifts. I was going to incorporate percussive rhythm in the compositions, but abandoned that as it started to feel a bit dominant and busy. The instrumentation is very much in line with my sound palette of late. The bright zither plays against the low tones of the Wurlitzer electric piano in a way I really like. Synthesizers add texture and atmosphere.For about a decade, from 1997 to 2007 or so, I identified primarily as a visual artist; a painter, to be precise. I worked in batches. I exhibited in mixed-use spaces: coffee joints, restaurants, furniture stores and home goods boutiques. One of the series that I became know for was a simple, flat figurative style. Think Jacob Lawrence meets Alberto Giacometti. In the early years the figures were uniformly dark red in color, and were always painted without facial features. I have continued to create work in this vein for the nonprofit Friends of The Children for over 25 years now. For the last 15 years they are the only client I continue to break out the brushes for.Well, back in 1997 I had one of the mentors (“friends”) stop by my studio on NE MLK Jr. Boulevard with a couple younger girls (who were black). When one of them rounded the corner and got one look at me her eyes widened, her mouth formed an O, and she covered her mouth with her hand. She thought she was coming to see a black artist! (I am white.) I will never forget the look on her face. She could not disguise her shock that artist behind the paintings she had seen was white. I laughed, but was a little thrown off by it. I don't really recall the details of our conversation, but the experience stuck with me. It's not really a story I've told before, but it I turned it over in my mind. This exhibition, and the large photo wallpapered on the museum wall (on the album cover) reminded me of that experience.Some years later, for a number of reasons, I began painting different skin tones rather than the default dark red. Admittedly, in retrospect I preferred the red, which harkened back to the inspiration for the style: sculpting with red clay.

On site at Art Basel Miami Beach 2023, Matthew Newton, UBS Art Advisory Specialist, is joined in conversation by artist Jeffrey Gibson, curator Kathleen Ash-Milby, and collector Becky Gochman. Centered on Gibson's multidisciplinary practice, the group offers perspectives on how the curatorial and collecting roles contribute to the overall preservation and enrichment of indigenous culture. Gibson, a member of the Choctaw and Cherokee Nations, will represent the United States at the Venice Biennale in 2024 and his work was featured this year in the UBS Art Collection presentation in the UBS Lounge. Kathleen Ash-Milby is Curator of Native American Art, Portland Art Museum and co-commissioner of the U.S Pavilion at the 2024 Venice Biennale. Becky Gochman is a prominent private collector of contemporary indigenous art.

Lance Weiler's Where There's Smoke is an immersive experience that he used to process his grief from losing his father, who was a volunteer firefighter and amateur photographer who would take pictures of fires and take Lance with him on these excursions. Weiler always wondered if his father had more involvement in any of these fires than merely observing and documenting them, and there was always some ambiguity in getting to the bottom of this question. As he says in his synopsis “Weiler unravels the secrets of his enigmatic father… and two devastating fires that struck the Weiler family in the early 1980s. In the final months of his battle with colon cancer, his father invites Lance to interview him, and these conversations reignite 30 years of wondering… were those fires more than tragic accidents?” The previous episode featured an interview with Weiler during his world premiere of the piece at Tribeca Immersive in 2019, and he has had three other major iterations of the project since then. It showed at IDFA DocLab in 2020 during the pandemic as a virtual grieving ritual within a Miro board, and then translated into a physical installation in New Jersey, and just recently Weiler showed an interactive and generative cinematic version at Portland Art Museum's Center for an Untold Tomorrow's (PAM CUT) new Tomorrow Theater space in November 2023. I had a chance to catch up Weiler just after his prototyping session at PAM CUT to catch up on how the piece has evolved over the past four and a half years of constant iteration. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

This week Todd welcomes Dave Baehler of the NotNerd Podcast to give a final news roundup up the year! Join us as we tackle news about the "holy grail" of male contraception, ChatGPT gets seasonal affective disorder, First Thursdays at the Portland Art Museum, Big Pink's new security robot, Google's top searches of 2023 (and forever), a rare pair of Nike's gets donated, and more. Happy holidays!

Cynthia Lahti (b. 1963) lives and works in her birthplace of Portland, Oregon. She received her BFA from the Rhode Island School of Design. Lahti has presented solo exhibitions in Oregon at CEI Artworks Gallery (2019), Ditch Projects (2017), Imogen Gallery (2017), Passages Bookshop (2016), and PDX Contemporary Art (2016), among others. Her work is in the collections of the Portland Art Museum, Boise Art Museum, Columbia University Library, Jordan Schnitzer Museum of Art, Reed College, Stanford University's Bowes Art and Architecture Library, University of California, Santa Barbara, Library, and Yale University's Beinecke Rare Book and Manuscript Library, among others. In 2023, the artist's drawings and sculptures were featured in Kelly Reichardt's film Showing Up. CYNTHIA LAHTI , White Phone, 2023 Signed and dated Ceramic figure 12 x 12 x 11 inches CYNTHIA LAHTI, Red Girl, 2023 Signed and dated Ceramic figure, wood base 17 x 8 x 7 inches CYNTHIA LAHTI, Sock, 2009 Signed and dated Ceramic figure, wood base 19 x 6 x 5 inches

The Portland Art Museum has begun a multi-year construction project that will revitalize the gallery and perhaps help do the same for the city's downtown core. In addition, the museum has opened its new Tomorrow Theater in Southeast Portland. We talk to Brian Ferriso, executive director and chief curator, about the future of the Portland Art Museum, and the role of museums in 2023.

WEBSITE: https://www.adammillerart.com   INSTAGRAM: https://www.instagram.com/adammillerart/   Biography Born in 1979 in Oregon, He began an apprenticeship to artist Allen Jones at thirteen years old and at Sixteen, was accepted to the Florence Academy Of Art in Florence and continued his studies under Michael John Angel in Florence. For the next four years, Miller traveled throughout Europe studying the work of the Baroque and Mannerist painters. His work has been commissioned by Robert Pamplin Jr., the Chairman of the Board of the Portland Art Museum, Mike Tyson, and Eric Rhodes, publisher of Fine Art Connoisseur. Miller has exhibited in both the U.S and Europe. Adam Miller has been described in reviews as a “rising star of realism” and it was said that he “would be considered a master in any era” _________________________________________________________________________   THANKS TO OUR SPONSORS:   ROSEMARY BRUSHES  https://www.rosemaryandco.com     HEIN ATELIER  https://heinatelier.com/   _________________________________________________________________________   THANK YOU TO ALL OF MY GENEROUS PATRONS! PLEASE CONSIDER HELPING TO KEEP THIS PODCAST GOING BY BECOMING A MONTHLY PATRON. JUST CLICK THE LINK BELOW.   https://patron.podbean.com/theundrapedartist  _________________________________________________________________________   FOLLOW THE PODCAST ON INSTAGRAM, FACEBOOK AND YOUTUBE:   https://www.instagram.com/THEUNDRAPEDARTIST/   https://www.facebook.com/people/The-Undraped-Artist-Podcast/100083157287362/   https://www.youtube.com/@theundrapedartist __________________________________________________________________________   FOLLOW THE HOST, JEFF HEIN:   Jeffhein.com    https://www.facebook.com/jeffrey.hein.16/   https://www.instagram.com/jeff_hein_art/   https://www.instagram.com/jeff_hein_studio/   

WEBSITE: https://www.adammillerart.com   INSTAGRAM: https://www.instagram.com/adammillerart/   Biography Born in 1979 in Oregon, He began an apprenticeship to artist Allen Jones at thirteen years old and at Sixteen, was accepted to the Florence Academy Of Art in Florence and continued his studies under Michael John Angel in Florence. For the next four years, Miller traveled throughout Europe studying the work of the Baroque and Mannerist painters. His work has been commissioned by Robert Pamplin Jr., the Chairman of the Board of the Portland Art Museum, Mike Tyson, and Eric Rhodes, publisher of Fine Art Connoisseur. Miller has exhibited in both the U.S and Europe. Adam Miller has been described in reviews as a “rising star of realism” and it was said that he “would be considered a master in any era” _________________________________________________________________________   THANKS TO OUR SPONSORS:   ROSEMARY BRUSHES  https://www.rosemaryandco.com     HEIN ATELIER  https://heinatelier.com/   _________________________________________________________________________   THANK YOU TO ALL OF MY GENEROUS PATRONS! PLEASE CONSIDER HELPING TO KEEP THIS PODCAST GOING BY BECOMING A MONTHLY PATRON. JUST CLICK THE LINK BELOW.   https://patron.podbean.com/theundrapedartist  _________________________________________________________________________   FOLLOW THE PODCAST ON INSTAGRAM, FACEBOOK AND YOUTUBE:   https://www.instagram.com/THEUNDRAPEDARTIST/   https://www.facebook.com/people/The-Undraped-Artist-Podcast/100083157287362/   https://www.youtube.com/@theundrapedartist __________________________________________________________________________   FOLLOW THE HOST, JEFF HEIN:   Jeffhein.com    https://www.facebook.com/jeffrey.hein.16/   https://www.instagram.com/jeff_hein_art/   https://www.instagram.com/jeff_hein_studio/   

Oregon Arts icon and guest curator Intisar Abioto joins the pod to discuss Portland Art Museum's Black Artists of Oregon. 

Ariel sits down with Marcel van Brakel and Mark van Meeuwenoord, the creators of Symbiosis, an interactive XR experience featured at SXSW and the Portland Art Museum. Support the show

Paul Iarrobino is a community activist, speaker, author and documentarian with over three decades of gerontology experience. He implemented virtual gatherings for older adults to safely connect during the pandemic to reduce isolation and increase social connectivity. This experience led to Paul's first book, COVIDOLOGY: Sharing Life Lessons from Behind the Mask. His current book Defining Moments will amplify the voices of LGBTQ+ writers and will be released early next year. You can follow his work at https://www.ourboldvoices.com.Sure, here are some highlights of Portland, Oregon in bullet points:Population: 641,162 (2021)Climate: Temperate, with average temperatures ranging from 35°F (2°C) in the winter to 75°F (24°C) in the summer.Geography: Located in the Willamette Valley, on the Columbia and Willamette rivers.Cost of living: Moderate, with a median home price of $525,000 (2022).LGBTQ+ community: Large and welcoming, with Portland being named one of the "Best Places to Live for LGBTQ People" by The Advocate magazine.Arts and culture: Thriving, with a variety of museums, theaters, and music venues.Crime and safety: Relatively safe, with a violent crime rate that is below the national average.Here are some additional details about each of these highlights:Population: Portland is the largest city in Oregon and the 26th largest city in the United States. The population is diverse, with many people from Asian, European, and Hispanic backgrounds.Climate: Portland has a temperate climate, with four distinct seasons. The winters are mild, with average temperatures in the mid-30s Fahrenheit. The summers are warm, with average temperatures in the mid-70s Fahrenheit.Geography: Portland is located in the Willamette Valley, a lush, green valley surrounded by mountains. The city is bisected by the Columbia and Willamette rivers, which provide stunning views and opportunities for recreation.Cost of living: The cost of living in Portland is moderate, but it has been rising in recent years. The median home price is now over $500,000.LGBTQ+ community: Portland has a large and welcoming LGBTQ+ community. The city has been named one of the "Best Places to Live for LGBTQ People" by The Advocate magazine.Arts and culture: Portland has a thriving arts and culture scene. The city has a number of museums, theaters, and music venues. The Portland Art Museum is one of the oldest and largest museums in the Pacific Northwest. The Portland Center Stage is a professional theater company that produces a wide range of plays. The Portland Symphony Orchestra is a well-respected classical music ensemble.Crime and safety: Portland is relatively safe, with a violent crime rate that is below the national average. However, the city has seen increased property crime in recent years.Support the showIf you enjoy these podcasts, please make a donation by clicking the coffee cup on any page of our website www.wheredogaysretire.com. Each cup of coffee costs $5 and goes towards bringing you these podcasts in the future.If you or you know someone who is interested in being a guest on the podcast, please contact me at mark@wheredogaysretire.com. Please join our Where Do Gays Retire Facebook group at Where Do Gays Retire? | FacebookThank you so much for listening!

When the film “Guillermo del Toro's Pinocchio” won the Academy Award for Best Animated Feature this year, it greatly validated Portland's animation industry. Much of the work on the film was done not only at the Portland offices of animation studio ShadowMachine, but also in the backyards and homes of our local fabricators and animators. Now a new exhibit at the Portland Art Museum highlights the artistry behind the film. ShadowMachine co-founder Alex Bulkley is here to tell us more about this exhibit and why our city continues to be the perfect place to make animation. Who would you like to hear on City Cast Portland? Shoot us an email at portland@citycast.fm, or leave us a voicemail at 503-208-5448. Want more Portland news? Then make sure to sign up for our morning newsletter, Hey Portland, and be sure to follow us on Twitter and Instagram.  Looking to advertise on City Cast Portland? Check out our options for podcast and newsletter ads at citycast.fm/advertise. Learn more about your ad choices. Visit megaphone.fm/adchoices

https://portlandartmuseum.orghttps://portlandartmuseum.org/collection/curators/brian-j-ferriso/https://www.orsymphony.orghttps://www.orsymphony.org/about/staff-board/scott-showalter/https://murdocktrust.org/app/uploads/2020/09/Portland-Arts-Ecology-FINAL.pdfhttps://twitter.com/rationalinpdx/status/1665983609801695233?s=46&t=wFu7yCZP1FJsCx-IyCH8hwhttps://www.nytimes.com/2003/05/14/arts/as-funds-disappear-so-do-orchestras.htmlhttps://newrepublic.com/article/114221/orchestras-crisis-outreach-ruining-themhttps://www.koin.com/news/portland/multnomah-county-chair-vega-pederson-unveils-3-5b-budget-proposal/https://www.multco.us/budget/fy-2023-adopted-budget

If you're enjoying the content, please like, subscribe, and comment! Please consider supporting the show! https://anchor.fm/worldxppodcast/support Jared Soares photographs community and identity. Through portraiture and longform essays he examines how sets of people relate to each other often through the lens of sports and contemporary culture. His fine art prints and books are held in the permanent collections of the Portland Art Museum, Cleveland Museum of Art, the Metropolitan Museum of Art, Virginia Museum of Fine Arts, Sloane Art Library at the University of North Carolina, Chapel Hill and the Beinecke Rare Book and Manuscript Library at Yale University. Jared's images intimately connect readers with subjects for clients such as adidas Originals, Adobe, Airbnb, The Atlantic, ELLE, The Fader, GQ, National Geographic, Nike, The New Yorker, The New York Times, Square, TIME, Under Armour and WIRED among others. His work has been recognized by the Taylor Wessing Portrait Prize and he contributed to The Marshall Project's 2020 investigation of K-9 units and the damage that police dogs inflict on Americans, the report earned the 2021 Pulitzer Prize, staff recognition for National Reporting. As the creative director for Virginia Dream FC, he is responsible for helping shape the visual identity of the club. Instagram - @jaredsoares ________________________ Follow us! @worldxppodcast Instagram - https://bit.ly/3eoBwyr @worldxppodcast Twitter - https://bit.ly/2Oa7Bzm Spotify - http://spoti.fi/3sZAUTG Apple Podcasts - http://apple.co/30uGTny Google Podcasts - http://bit.ly/3v8CF2U Anchor - http://bit.ly/3qGeaH7 YouTube - http://bit.ly/3rxDvUL #photography #football #nikefootball #photographer #identity #creative #creativity #creativedirector #professionalsoccer #nikesoccer #virginiadream #tst #npsl #podcastshow #longformpodcast #longformpodcast #podcasts #podcaster #newpodcast #podcastshow #podcasting #newshow --- Support this podcast: https://podcasters.spotify.com/pod/show/worldxppodcast/support

In this episode of PhotoWork with Sasha Wolf, Sasha and photographer and publisher Matt Eich discuss the intricate play between personal work and universality, the importance of varied artistic inspiration, and the deep understanding and responsibility needed when working with communities as an outsider. Matt also expresses the necessity of having trusted voices help in the editing process. https://www.matteichphoto.com https://www.littleoakpress.com Matt Eich is a photographic essayist working on long-form projects related to memory, family, community, and the American condition. Matt's work has received numerous grants and recognitions, including PDN's 30 Emerging Photographers to Watch, the Joop Swart Masterclass, the F25 Award for Concerned Photography, POYi's Community Awareness Award, an Aaron Siskind Fellowship, a VMFA Fellowship and two Getty Images Grants for Editorial Photography. His work has been exhibited in 20 solo shows, in addition to numerous festivals and group exhibitions. Matt's prints and books are held in the permanent collections of The Portland Art Museum, the Museum of Fine Arts Houston, The New York Public Library, Chrysler Museum of Art, Ogden Museum of Art, and others. Matt was an Artist-in-Residence at Light Work in 2013, and at a Robert Rauschenberg Residency in 2019. Eich holds a BS in photojournalism from Ohio University and an MFA in Photography from Hartford Art School's International Limited-Residency Program. He is the author of four monographs, Carry Me Ohio (Sturm & Drang, 2016), I Love You, I'm Leaving (Ceiba Editions, 2017), Sin & Salvation in Baptist Town (Sturm & Drang, 2018) and The Seven Cities (Sturm & Drang, 2020). He has one forthcoming monograph scheduled for Fall 2023. Eich self-publishes under the imprint Little Oak Press and resides in Virginia. This podcast is sponsored by picturehouse + thesmalldarkroom. https://phtsdr.com

During the early days of the COVID-19 Pandemic, being at home with my thoughts, I kept busy by researching mokuhanga. And one of my many discoveries was the exhibition at the Portland Art Museum held from September 24, 2020, to June 13, 2021, called Joryū Hanga Kyøkai, 1956-1965: Japan's Women Printmakers and curated by Japan Foundation Associate Curator of Japanese Art and Interim Head of Asian Art Jeannie Kenmotsu. It was an exhibition of mokuhanga, etchings, and lithography of a group of printmakers I didn't know much about. Individually I may have heard their names but as a group? I needed to learn more.    History is an essential part of mokuhanga; to search out those printmakers who have come before us to understand what they did and how they did it. I have learned so much from the past that I can use it in my own work for my present and future.        On this episode of The Unfinished Print, I speak with Jeannie Kenmotsu, Ph.D., about the Joryu Hanga Kyokai and, the road to this exhibition, the work that went behind it. We explore how the Joryu Hanga Kyokai showed a different face of printmaking in Japan. We discuss Tokyo during the 1950s and 1960s, the mokuhanga and print culture of the time, internationalism, and how this exhibition could catalyze more research on this incredible group.  Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Joryū Hanga Kyōkai, 1956-1965: Japan's Women Printmakers - was an exhibition curated by Jeannie Kenmotsu from September 24, 2020 - June 13, 2021, at the Portland Art Museum. It is the first step in understanding and education on the subject of women in Japanese printmaking in modern Japan. Members of the group were  Romanesque Architecture - is a style developed in the north of Italy, parts of France, and the Iberian Peninsula in the 10th century. Evolving from thick walls, no sculpture, and ornamental arches into towering round arches, massive stone and brickwork, small windows, thick walls, and an inclination for housing art and sculpture of biblical scenes.  For more information abbot Romanesquwe architecture you can find that, here.  Portland Art Museum - established in 1892, the PAM has established itself as one of the preeminent art musuems on the West coast of the United States. The musuem has 40,000 pieces of art and art objects. More information about PAM can be found here.  The Royal Ontario Museum - also known as The ROM, is an art, world culture, and natural history museum in the city of Toronto, and is one of the oldest museums in the city. More info, here.  mokuhanga in the 1950's and 1960's - Japanese woodblock printmaking became quite popular after World War II. With Japan growing exponentially post war, through industry and art, the independent philosphy that the West perpetuated began to filter into the Jpaanese art world. Sōsaku hanga became increadingly popular where there is only one carver, printer and draughtsman. These prints touched on various themes, but especially in the abstract. Artists such as Shigeru Hatsuyama (1897-1973), and Kiyoshi Saitō (1907-1997) spring to mind, who created a new kind of mokuhanga by using various techniques, colours, and sizes  that were unique and expressive. Oliver Statler's book, written in 1956, Modern Japanese Prints : An Art Reborn, was published because the art form was growing so quickly. It is a great summary  on the sōsaku hanga movement during that time.  Edo Period prints - woodblock prints of the Edo Period (1603-1867) were predominantly of kabuki actors (Sharaku), and courtesans (Harunobu) beginning in the middle of the 18th century. The traditional system of production came into play when making ukiyo-e of this period, designer,  carver, printer, and publisher. Famous designers of the day were Hiroshige (1797-1858), Hokusai (1760-1849). Lewis and Clark Centennial Exposition - was an international fair in 1905 held in Portland, Oregan, USA from June 1 - October 15 and attracted over 1 million visitors. It helped to showcase Portland and its environs, promoting the movement and expansion West by settlers. The Portland Art Museum began shortly after the Exposition as The Portland Art Association needed its own space to showcase art pieces from the Exposition.  The Metropolitan Museum of Art - is the largest art museum in North and South America. It began to be assembled by John Jay (1817-1894) in the late 19th century. Incorporated in 1870, the museum has collected many essential pieces, such as the works of Henri Matisse (1869-1954) and Pierre-Auguste Renoir (1841-1919). For more information about the MET, you can find it here. Adolphe Braun (1812-1877) - was a German-born photographer who helped to establish photography as an art form. His work with the reproduction of art furthered art history throughout the world. Chizuko Yoshida (1924-2017) - was the wife of painter and printmaker Hodaka Yoshida. Beginning as an abstract painter, Chizuko, after a meeting with sōsaku hanga printmaker Onchi Kōshirō (1891-1955), Chizuko became interested in printmaking. Chizuko enjoyed the abstraction of art, and this was her central theme of expression. Like all Yoshida artists, travel greatly inspired Chizuko's work. She incorporated the colours and flavours of the world into her prints. Rain B (1953) 14 3/4 x 9 7/8" Yoshida Hiroshi (1876-1950) - a watercolorist, oil painter, and woodblock printmaker. Is associated with the resurgence of the woodblock print in Japan, and in the West. It was his early relationship with Watanabe Shōzaburō, having his first seven prints printed by the Shōzaburō atelier. This experience made Hiroshi believe that he could hire his own carvers and printers and produce woodblock prints, which he did in 1925.  Osaka Castle (1935) Fujio Yoshida (1887-1997) - the wife of Hiroshi Yoshida and the mother of Tōshi Yoshida (1911-1995) and Hodaka Yoshida. Fujio was so much more than a mother and wife. She had a long and storied career as a painter and printmaker. Fujio's work used her travels and personal experiences to make her work. Subjects such as Japan during The Pacific War, abstraction, portraits, landscapes, still life, and nature were some of her themes. Her painting mediums were watercolour and oil. Her print work was designed by her and carved by Fujio.  Yellow Iris (1953)  Hodaka Yoshida (1926-1995) - was the second son of woodblock printmaker and designer Hiroshi Yoshida (1876-1950). Hodaka Yoshida's work was abstract, beginning with painting and evolving into printmaking. His inspirations varied as his career continued throughout his life, but Hodaka Yoshida's work generally focused on nature, "primitive" art, Buddhism, the elements, and landscapes. Hodaka Yoshida's print work used woodcut, photo etching, collage, and lithography, collaborating with many of these mediums and making original and fantastic works. Outside of prints Hodaka Yoshida also painted and created sculptures.     Dawn At Sea (1969) - silkscreen 25 5/8" x 19 3/8" (AP) Tōshi Yoshida (1911-1995) - was the second child of Hiroshi Yoshida and Fujio Yoshida, although the first to survive childhood. Beginning with oil paintings and then apprenticing under his father with woodblock cutting. By 1940 Tōshi started to make his mokuhanga. After his father's death in 1950, Tōshi began to experiment with abstract works and travel to the United States. Later travels to Africa evolved his prints, inspiring Tōshi with the world he experienced as his work focused on animals and nature.  Irises and Ducks - 19 5/8" x 11 3/4" Ayomi Yoshida - is the daughter of Chizuko and Hodaka Yoshida. She is a visual artist who works in mokuhanga, installations and commercial design. Ayomi's subject matter is colour, lines, water, and shape. Ayomi's lecture referred to by Jeannie at PAM can be found here. She teaches printmaking and art. You can find more info here.  Black Marks (1999) 20 1/2 × 20 1/8 in (AP) Guide to Modern Japanese Woodblock Prints: 1900-1975 - is a book published by the University of Hawai'i in 1995. It is a reference book describing artists, publishers, and carvers. It contains no images but is a valuable resource for the mokuhanga academic.  Uchima Toshiko (1918-2000) - was a Manchurian-born Japanese artist who worked in mokuhanga, liothography, assemblages and collage. She was one of the founders of the Joryū Hanga Kyōkai in 1955/56. She lived most of her life in the United States, specifically New York City.  Package From Italy - collage 19.8"x16.8" in Ansei Uchima (1921-2000) - was a mokuhanga printmaker in the sōsaku hanga style of Japanese printmaking. He was the translator for Japanologist Oliver Statler (1915-2002). Way For Hakone (1966) 13 3/4 x 21 in Oliver Statler (1915-2002) -  was an American author and scholar and collector of mokuhanga. He had been a soldier in World War 2, having been stationed in Japan. After his time in the war Statler moved back to Japan where he wrote about Japanese prints. His interests were of many facets of Japanese culture such as accommodation, and the 88 Temple Pilgrimage of Shikoku. Oliver Statler, in my opinion, wrote one of the most important books on the sōsaku-hanga movement, “Modern Japanese Prints: An Art Reborn.” Iwami Reika (1927-2020) - was a Japanese-born artist and one of the founders of the Joryū Hanga Kyōkai. For a short video about Iwami Reika's work, check out Artelino.com. Round Shadow C (1957) sōsaku-hanga - or creative prints, is a style of printmaking which is predominantly, although not exclusively, prints made by one person. It started in the early twentieth century in Japan, in the same period as the shin-hanga movement. The artist designs, carves, and prints their own works. The designs, especially in the early days, may seem rudimentary but the creation of self-made prints was a breakthrough for printmakers moving away from where only a select group of carvers, printers and publishers created woodblock prints.  Yoseido Gallery - is a fine print gallery located in the Ginza district of Tōkyō, Japan since 1953. More information can e found, here. Francis Blakemore (1906-1997) - was an American-born artist, writer, philanthropist and curator of modern Japanese mokuhanga. She lived in Japan for over fifty years and helped to support the burgeoning sōsaku hanga print movement of the 1950s. Blakemore worked in mokuhanga (collaborating with Watanabe Shōzaburō) and making self-printed and carved prints. She also worked in oils.  Far Eastern Madonna (1939) white line woodblock print  Japanese Economy of the 1950's - from 1945-1991 Japan had its most prosperous period of economic growth. By 1955 the economic began to grow twice as fast as prior to '55. According to The Berkley Economic Review the advancement of technologies, accumulation of capital, increased quantity and quality of labor, and increased international trade were the main reasons that strenghtend Japan. For more information regarding the begining of this growth you can find the BER article here.  intaglio printing - is a printing method, also called etching, using metal plates such as zinc, and copper, creating “recessed” areas which are printed with ink on the surface of these "recesses.” More info, here. The MET has info, here.   Minami Keiko (1911-2004) - was a Japanese-born artist and a founder of the Joryū Hanga Kyōkai. Keiko's work is abstract, whimsical and youthful. She lived mainly in Paris, France, where she studied aquatint etching under Johhny Friedlaender (1912-1992). More information about Minami Keiko's art and life can be found here.  House With Sun and Trees : watercolour and gouache 14 3/4x11 in. Yōzō Hamaguchi (1909-2000) - was a Japanese-born mezzotint printmaker who lived in Paris, France, for most of his life. He was the husband of Minami Keiko.  Bottle With Lemons and Red Wall (1989) mezzotint 30 x 24 in. mezzotint - is a style of printmaking which uses a copper plate, “rocked” with a tool called a rocker, and then burnished with various devices. A good video showing the entire process from start to finish of a mezzotint print can be found here by the artist Julie Niskanen Skolozynski. Kobayashi Donge - is an aquatint etching artist who's subject is generally women and literature.  Roses Go Well With Mount Fuji (1993) etching with hand colouring on paper Tokyo University of the Arts (Geidai) - founded during the merger of the Tokyo Fine Arts School and the Tokyo Music School in 1949, TUA offers Masters's and Doctorate degrees in various subjects such as sculpture, craft and design as well as music and film. It has multiple campuses throughout the Kantō region of Japan. More information regarding the school and its programs can be found here.  担当者 - is a Japanese word which means “person in charge." Nihon Hanga Kyōkai - is the Japanese Printmakers Association. It was created in 1918, focusing on the new sōsaku hanga print movement. It evolved into a modern print organization covering various types of printmaking, such as relief, intaglio, planographic (lithography and offset printmaking), and stencil. You can find more information on their website in Japanese and English here. First Thursday Society (一木会) - was created by printmaker Onchi Kōshirō (1891-1955). The group brought artists and collectors to discuss the growing sōsaku hanga (creative print) movement to collaborate, share their work, and it acted as a mentorship program.  Un'ichi Hiratsuka (平塚 運一) - (1895-1977) - was one of the important players of the sōsaku hanga movement in mokuhanga. Hiratsuka was a proponent of self carved and self printed mokuhanga, and taught one of the most famous sōsaku hanga printmakers in Shikō Munakata (1903-1975). He founded the Yoyogi Group of artists and also taught mokuhanga at the Tōkyō School of Fine Arts. Hiratsuka moved to Washington D.C in 1962 where he lived for over thirty years. His mokuhanga was multi colour and monochrome touching on various subjects and is highly collected today.  Landscape (1934)  College Women's Association of Japan - was started by the alumnae of Mount Holyoke College from Massachusetts. Later expanding to other universities and colleges in the US, the CWAJ  established Japanese women to study abroad through travel grants and scholarships, thereby promoting Japanese culture. What began as a fundraising program from 1956 onward, the annual print show has become one of the most essential print shows in the world, showcasing prints of all types. It is the largest juried print show in Japan. More information about the CWAJ and its print show can be found here.  Kantō (関東地方) - is a region located on the main island of Honshu, Japan, which encompasses the Prefectures of Gunma, Tochigi, Ibaraki, Saitama, Tōkyō, Chiba and Kanagawa. The Kantō Regional Development Bureau of the Ministry of Land Infrastructure, Transport and Tourism oversees these prefectures. More information can be found here.  Kansai (関西地方) - is a region located on the main island of Honshu, Japan, which encompasses the Prefectures of Nara, Kyoto, Wakayama, Osaka, Hyōgo, Shiga and Mie. It has the most UNESCO world heritage sites in Japan. For tourist information about Kansai, see here.  Jun'ichirō Sekino (1914-1988) - was a Japanese mokuhanga printmaker of the sōsaku hanga creative prints movement. Sekino's works are landscapes and portraits and are black and white and colourful. Sekino studied under Onchi Kōshirō. He was invited to the United States several times as a visiting professor at Oregon State University, the University of Washington, and Penn State University in 1963, where he taught classes on mokuhanga. You can find more information about Sekino and his work and life on his website here.  U.S Army Officer (1948)  24"x18.8" in. Munakata Shikō (志功棟方) - (1903-1975) arguably one of the most famous modern printmakers; Shikō is renowned for his prints of women, animals, the supernatural and Buddhist deities. He made his prints with an esoteric fervour where his philosophies about mokuhanga were just as interesting as his print work.  Night Birds (The Fence of...) 7.4"x11.5" in. Aomori (青森県) - is a prefecture in north Japan. Located about an hour and a half from Tōkyō, Aomori is known for its incredible nature, festivals, sports and outdoor activities in all four seasons. More information can be found here.  Kobe, Japan - is the capital city of Hyōgo Prefecture in Japan. One of the few ports open to Western trade, Kobe has always had a great vibe. With a lot to visit and see, Kobe has many attractions, such as its harbour, Mount Rokkō, and various museums and mansions on the hill; its proximity to Osaka and Kyoto makes it an ideal place to visit. For more information about Kobe, Japan, see here.  Shirokiya - was a department store company which started in Japan with various stores throughout Japan and Hawai'i. It was founded in Tōkyō in 1662 and went out of business in 2020. The store was famously depicted in a Hiroshige print, View of Nihonbashi Tori-itchome 1858.  Sarah Lawrence College - is a liberal arts college in Yonkers, New York.  Founded in 1926, Sarah Lawrence has been dedicated to the education process and inclusivity of its student body since its inception. For more information about the school and their work can be found here. Pratt Institute - is a private university located in Brooklyn, New York. Established in 1887 and founded by American business magnate Charles Pratt (1830-1891), the Pratt Institute focuses on the liberal arts such as architecture, art and design, shaping leaders of tomorrow. For more information about TPI, you can look here.  Elise Grilli (d.1969) - was an art critic and author who wrote for the Japan Times. She lived in Japan throughout the 1940's into the 1960's. Her book The Art Of The Japanese Screen is considered a classic.  Charles Terry (1926-1982) - was an author and translator of Japanese in Tōkyō for Harry J. Abrams.  James A Michener (1907-1997) - a Pulitzer Prize winning writer, scholar and academic who wrote on Japanese prints, amongst many more topics. Shima Tamami (1937-1999) - was a mokuhanga printmaker who joined the JHK when they had already established themselves. Her career was short, moving to the United States in the 1960s. Her mokuhanga depicts Japanese aesthetics and themes producing still lives. Her work was featured in James Michener's book, The Modern Japanese Print: An Appreciation, in 1962. For more information and images of Tamami Shima's work, please check out the Viewing Japanese Prints site here. Bird B (1959) 11.9"x16.3" in. Noriko Kuwahara - is a scholar, curator, and author of Japanese art in Japan.  PoNJA-GenKon - is an online listserve group which means Post-1945 (Nineteen Forty Five) Japanese Art Discussion Group Geidai Bijutsu Kondankai. It was established in 2003 to bring together specialists in Japanese art in the English speaking world. For more information about what PoNJA-GenKon does search here. Philadelphia Museum of Art - originating with the Centennial Exhibition of 1876, the PMA has over 200,000 pieces of art and objects and is one of the preeminent museums in the US. More information can be found here. Sakura City Museum of Art -  is a fine art museum located in Sakura City, Chiba, Japan. It is dedicated to the arts of those form Sakura City and Bosho. More information in Japanese here.  Ao no Fūkei (Landscape in Blue) - is a mokuhanga print created by Chizuko Yoshida in 1972.  Futurism - is an art movement which began in Italy. It was established in the early 20th Century by artists Filippo Tommaso Marinetti (1876-1944), Umberto Boccioni (1882-1916), and Carlo Carrà (1881-1966), amongst others. The idea of Futurism was to reject the past and celebrate the speed and power of the present, of industrialization and modernity through art. Futurism influenced other artistic communities around the world.  The Endless Manifesto - Started by Tommaso Marinetti's original manifesto on Futurism called Manifesto of Futurism, the Futurists wrote many manifestos about their ideas on art, history, politics, literature, music, among other topics, until 1914, as well as books, articles in literary journals, magazines and newspapers. The MoMA has written a good article on the Futurists and their manifestos and writings here. © Popular Wheat Productions opening and closing musical credit - Joe Chambers "Ruth" released on Blue Note Records (2023) logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                    

Subscriber-only episodeIn January 2023, a chance encounter between two men ended in a bloody murder in front of the Portland Art Museum.  Episode Source List:https://www.portlandoregon.gov/police/news/read.cfm?id=452731 https://katu.com/news/local/man-allegedly-stabbed-to-death-near-art-museum-for-peeing-in-front-of-suspect-crime-murder-homicide-stabbing-violence-city-arrest-police-travel-shooting-assault-weird https://www.portlandtribune.com/news/update-fatal-downtown-stabbing-suspect-arrested/article_bdb292d2-a248-11ed-84ac-4b100f259062.html https://www.corbeillfuneralhomes.com/obituary/jonathan-bennettHistory Nerds UnitedLet's make history fun again! Come listen to interviews with today's best authors.Listen on: Apple Podcasts Spotify

Sherman Bynum certainly made an entrance to his prom Saturday night. The junior at Camas High School, near the Oregon-Washington border, rode in an M3A1 Stuart tank to prom at the Portland Art Museum. That's right, a tank. A Florida man was arrested for going 100 mph in a 40 mph zone. Police noticed Jevon Jackson 22, speeding while swerving in and out of traffic. Upon confrontation, the officer told Jackson he was going 100 mph but before he could finish Jackson interrupted and claimed to only be doing 75 mph. A moose was caught on security camera heading into a movie theater and helping itself to some popcorn Wednesday. I hate the news. Like, really hate the news. It's mostly just politics, and death, and scare tactics. So I decided to create my own news show - for people like me who hate the news - with nothing but funny and wacky stories from around the world. I call it Tony P. Oddcast. find me at http://www.tonyphenderson.com music http://www.klyma.com

Welcome to Season 2 of the Diffusion Tapes. In our fifth episode, we hear exciting and history-making photography stories from Stu Levy. Dr. Stu Levy lives in Portland, Oregon. He studied with Ansel Adams, and was an instructor at the Ansel Adams Gallery Workshops, and leads photography workshops on the Oregon Coast. He has several books, works in many collections, and is a Portland icon. He's currently heavily involved with Portland Art Museum's photography council and he's on the Photolucida board of directors. In our Tape with Stu he talks about his extensive history in photography, music, and even healthcare. Stu's wealth of knowledge in regard to photo history is amazing and very inspirational. We could listen and learn for hours, which is why we invited him to the Diffusion Tapes! Recorded Dec 8, 2022. These are the Diffusion Tapes... Show notesStu LevyMinor WhiteSurdy-Greebus (band)Seymour DuncanDavid LemieuxPowell's BooksKaiser PermanenteAnsel Adams WorkshopsAlan RossJohn SextonMichael KennaMorley BaerPortland Art MuseumPaul StrandWeston GalleryFriends of PhotographyRuth BernhardJerry UelsmannOlivia ParkerGrid PortraitsDavid HockneyPolaroidBud Clark - Former Portland MayorChris PichlerNazraeli PressPortland Photographers' ForumBlue Sky GalleryChristopher RauschenbergFotofestPhotolucidaThe Museum of Fine Arts, HoustonThe Teachings of Don Juan: A Yaqui Way of KnowledgeChefchaouen, MoroccoThe Diffusion Tapes are produced and hosted by Blue Mitchell and co-hosted by Michael KirchoffStu's Portrait by Jake Shivery

In this episode with artist Daniel Zeller, we talked about the inherent unity between the macro and micro cosmic scales of reality. We talked about natural systems and how we can visualize the interdependent nature of life. We touched on psychedelics and the importance those compounds might hold in our evolution.  We also dove into Daniel's creative process, meditation, and how visual art can function in ways that language seems to fall short. ----------------------  Daniel Zeller earned his MFA in Sculpture from the University of Massachusetts in Amherst and a BFA in sculpture from the University of Connecticut in Storrs, though he is now known for his abstract, labor intensive drawings. He has had solo exhibitions at Pierogi in NYC, Daniel Weinberg in Los Angeles, G-Module in Paris, and Michel Soskine Inc., in Madrid. His work has been included in group exhibitions both in the states and internationally, and is included in the collections of MoMA, the Morgan Library, and the Whitney in NYC, LACMA and the Museum of Contemporary Art in Los Angeles, NASA and the National Gallery in DC, the Albright-Knox Gallery in Buffalo, The Arkansas Arts Center in Little Rock, the Portland Art Museum in Oregon, among others. He has been awarded a Pollock Krasner Foundation grant and a Civitella Ranieri fellowship, and has an MTA permanent installation at the Bay 50th stop on the D line. He currently lives and works in NYC. http://www.danielzeller.net https://hyperallergic.com/448218/daniel-zeller-recent-drawings-pierogi-2018/ https://fac.umass.edu/Online/default.aspBOparam::WScontent::loadArticle::permalink=HGZeller&BOparam::WScontent::loadArticle::context_id= https://www.pierogi2000.com/artists/daniel-zeller/ https://www.soskine.com/artists/daniel-zeller https://whitehotmagazine.com/articles/2008-daniel-zeller-pierogi-brooklyn/1466 See More from Martin Benson *To stay up on releases and content surrounding the show check out ⁠⁠my instagram⁠⁠ *To contribute to the creation of this show, along with access to other exclusive content, consider joining ⁠⁠my Patreon⁠⁠! Credits: Big Thanks to Matthew Blankenship of ⁠⁠The Sometimes Island ⁠⁠ for the podcast theme music! --- Support this podcast: https://podcasters.spotify.com/pod/show/martin-l-benson/support

Today on the show we're talking about ghost kitchens, the decrease in commuter bicycling, and the Portland Art Museum's recent PR disaster. Host Claudia Meza is joined by Crystal Ligori, a host of Oregon Public Broadcasting's All Things Considered, as well as our very own lead producer John Notarianni. Stories discussed in today's episode: Reef Kitchen calls it quits: https://www.wweek.com/news/city/2023/03/21/reef-kitchens-the-softbank-backed-startup-appears-to-abandon-ghost-kitchen-operations-in-portland/  Portland cycling's huge drop: https://bikeportland.org/2023/03/15/city-counts-reveal-data-behind-portlands-precipitous-drop-in-cycling-371407  PR blunder at the Portland Art Museum: https://www.opb.org/article/2023/03/21/portland-oregon-art-museum-policy-karuk-native-basket/ Jenny Conlee's new album: https://www.portlandmercury.com/music/2023/03/21/46412102/tides-is-jenny-conlees-soundtrack-to-the-pacific-northwest-coast Jenny's upcoming show: https://everout.com/portland/events/jenny-conlee/e142154/ Who would you like to hear on City Cast Portland? Shoot us an email at portland@citycast.fm, or leave us a voicemail at 503-208-5448. Still want more Portland news? Then make sure to sign up for our morning newsletter, Hey Portland, and be sure to follow us on Twitter and Instagram.  Looking to advertise on City Cast Portland? Check out our options for podcast and newsletter ads at citycast.fm/advertise. Learn more about your ad choices. Visit megaphone.fm/adchoices

Given the manifold political, climate, and technological crises unfolding just two months into 2023, one wonders if that ominous future our species so fears is much closer than we anticipated. It is a tense and dramatic time, but it does further underscore the importance of the cultural figure Hito Steyerl. The German filmmaker's bold artworks investigate emerging technologies and media, and she often sites these inquiries within society and politics, globalization, and capitalism. Yet despite the complexity of the subject matter and her research-intensive process, Steyerl's works are readily enthralling, often manifesting as highly ambitious, immersive architectural environments. It is no small wonder that her work has reached a global stage. Last year, her largest-ever retrospective, called “I Will Survive,” wrapped its European tour at the Stedelijk Museum in Amsterdam. And just last month, her exhibition called “This is the Future” opened at the Portland Art Museum, where it is on view until mid-June. On this week's episode, European editor Kate Brown spoke to Steyerl to tackle some of the questions about what artificial intelligence, the metaverse, crypto, and an increasingly imperiled natural world might mean for us.

(From the Stephen Friedman Gallery) Jeffrey Gibson's work fuses his Choctaw-Cherokee heritage and experience of living in Europe, Asia and the US with references that span club culture, queer theory, fashion, politics, literature and art history. The artist's multi-faceted practice incorporates painting, performance, sculpture, textiles and video, characterised by vibrant colour and pattern. Gibson was born in 1972, Colorado, USA and he currently lives and works in Hudson Valley, New York. The artist combines intricate indigenous artisanal handcraft – such as beadwork, leatherwork and quilting – with narratives of contemporary resistance in protest slogans and song lyrics. This “blend of confrontation and pageantry” is reinforced by what Felicia Feaster describes as a “sense of movement and performance as if these objects ... are costumes waiting for a dancer to inhabit them.” The artist harnesses the power of such materials and techniques to activate overlooked narratives, while embracing the presence of historically marginalised identities. Gibson explains: “I am drawn to these materials because they acknowledge the global world. Historically, beads often came from Italy, the Czech Republic or Poland, and contemporary beads can also come from India, China and Japan. Jingles originated as the lids of tobacco and snuff tins, turned and used to adorn dresses, but now they are commercially made in places such as Taiwan. Metal studs also have trade references and originally may have come from the Spanish, but also have modern references to punk and DIY culture. It's a continual mash-up.” Acknowledging music as a key element in his experience of life as an artist, pop music became one of the primary points of reference in Gibson's practice: musicians became his elders and lyrics became his mantras. Recent paintings synthesise geometric patterns inspired by indigenous American artefacts with the lyrics and psychedelic palette of disco music. Links: Instagram: @jeffrune Websites: https://www.jeffreygibson.net/ Portland Art Museum: https://portlandartmuseum.org/exhibitions/jeffrey-gibson-they-come-from-fire/

Episode 2 with Sandy Litchfield, a painter, public artist and Associate Professor at the University of Massachusetts Department of Architecture. Sandy has been recognized with numerous grants and commissions for public art. She has exhibited in numerous museums including the Decordova Museum and Sculpture Park, the Fitchburg Art Museum, the Portland Art Museum and the Hunterdon Museum. Her work focuses on landscape as a construct for understanding place and notions of belonging. It's a conversation about what roots us and the places that give us a sense of belonging, and the ways in which that can inform our work and the trajectory of what we create. It's also a conversation about creating fictional future places where we want to be, that feel in our control and expressing what we wish for in the landscapes that we inhabit.  We cover lots of ground in this conversation. Please enjoy! Subscribe, rate and review us so others can find these conversations too. Check out Sandy's work here,  follow her on Instagram and her project On Distant Keys. Learn more about Bruno Latour's work here and research some maps at the Norman B Leventhal Map Center.   Check out The New Wilderness by Diane Cook for a great post-climate novel that we talked about in this conversation. Check out our website for more information and follow us on @artist_and_place Steam Clock Theme music by @GraceImagoEngineering support by Scot CoarPodcast graphic design by @RobKimmelPlease Subscribe to the show, leave a review and share this episode on social media or with friends! Check out our website for more information and follow us on @artist_and_place Steam Clock. Theme music by @GraceImago Podcast graphic design by @RobKimmel

Polymorf's Symbiosis is a multi-sensory VR experience that uses soft-body haptics, a bespoke, microdose smell dispersal system, and different tastes. The piece debuted at IDFA DocLab 2021 (see my previous interview here), and it has a sold out run in Portland, Oregon from November 12 to February 12 at the Portland Art Museum's Center for an Untold Tomorrow (PAM CUT). There are 6 different characters that you can embody in this "speculative fabulation" inspired by the last chapter of Donna Haraway's Staying with the Trouble book where she suggests that humans start to combine the DNA of endangered species into humans in order to cultivate a deeper kinship with the world around us. Polymorf takes this idea to the logical extreme as you embodied these human animal/hybrids in the distant future. I had a chance to experience 3 of the 6 different characters at the PAM CUT press preview, and then catch up with the co-creators Marcel van Brakel and Mark Meeuwenoord during my trip to IDFA DocLab 2022 in Amsterdam to unpack their journey, process, and some of my experiential design feedback and critiques.

Last spring, more than 100 Oregonians posed for portraits on empty pedestals in downtown Portland that used to house sculptures of former presidents. The portraits are the brainchild of indigenous artist Jeffrey Gibson, who was invited by Portland Art Museum to create a multimedia installation both inside and outside the museum. Gibson, a member of the Mississippi Band of Choctaw Indians and of Cherokee descent, created the portraits, glass panels, and a timeline of notable dates in Oregon's Indigenous history. We talk to Gibson, and to Kathleen Ash-Milby, curator of Native American Art at the Portland Art Museum, about the exhibit.

Art has long been a lever for working class solidarity and social justice. It's also a collaborative form of labor that props up some workers and devalues others. This week, we're taking a long, hard look at two works of art: Rodrigo Valenzuela: New Works for a Post Worker's World, an exhibition on view at BRIC House through December 23rd, and 7 MINUTES, a play produced by Waterwell that premiered at HERE Arts Center last spring. • Brooklyn, USA is produced by Emily Boghossian, Shirin Barghi, Charlie Hoxie, Khyriel Palmer, and Mayumi Sato. If you have something to say and want us to share it on the show, here's how you can send us a message: https://bit.ly/2Z3pfaW• Thank you to Justin Bryant, Elizabeth Ferrer, Marc Enette, Waterwell, Lee Sunday Evans, Arian Moayed, Andrew Tilson, and Matthew Munroe aka Superlative Sain. • LINKSBorn in 1982, Santiago, Chile; based in Los Angeles, CA Rodrigo Valenzuela has presented solo exhibitions at the New Museum and Asya Geisberg Gallery, both NY; Light Work, Syracuse, NY; University of South Florida, Tampa, FL; Santa Cruz Museum of Art and History, CA; Orange County Museum of Art, Santa Ana, CA; Museum of Art and History, Lancaster, CA; Luis de Jesus, Los Angeles, CA; Jordan Schnitzer Museum of Art, Eugene, OR; and the Portland Art Museum and UPFOR, both Portland, OR. He has participated in group exhibitions at The Kitchen, The Drawing Center, Wave Hill, and CUE Art Foundation, all NY; Museum of Contemporary Art North Miami, FL; Bemis Center for Contemporary Arts, Omaha, NE; Frye Art Museum, Seattle, WA; and The Museum of Fine Arts, Houston, TX, among others. He has also exhibited his work in solo shows internationally at Arróniz Arte Contemporáneo, Mexico City; Peana Projects, Monterrey, NL, Mexico; Galería Patricia Ready and Museo de Arte Contemporàneo, Universidad de Chile, Santiago, Chile; and Galerie Lisa Kandlhofer, Vienna, Austria. Valenzuela has participated in residencies at Dora Maar, Fountainhead, Light Work, MacDowell, Glassell School of Art, Bemis Center for Contemporary Arts, Kala Art Institute, Vermont Studio Center, Center for Photography at Woodstock, and the Skowhegan School of Painting and Sculpture. He is the recipient of the 2021 John Simon Guggenheim Memorial Foundation Fellowship in Photography, the Smithsonian Artist Research Fellowship, and the Joan Mitchell Fellowship. His work is included in numerous public and private collections, including those of the Whitney Museum of American Art, J. Paul Getty Museum, Los Angeles County Museum of Art, The Museum of Fine Arts, Houston, The Nelson-Atkins Museum of Art, Frye Art Museum, Tacoma Art Museum, and The Center for Photography at Woodstock. He is an Associate Professor and Head of the Photography Department at UCLA. Valenzuela received his BFA in Art History and Photography from the University of Chile, his BA in Philosophy from Evergreen State College, and his MFA in Photo/Media from the University of Washington.Ebony Marshall-Oliver is an actress, singer, and storyteller. She began singing in church as a little girl. After being cast in her first musical- Bubbling Brown Sugar- in her mid twenties, she decided that acting would be her career. She enrolled in the Integrated Program at AMDA NY. Her first professional job after graduating was Seussical the Musical with TheatreWorksUSA. With this role, she became a member of Actors Equity Association. Broadway credits include Ain't No Mo' and Chicken and Biscuits. Off Broadway theaters she's worked at are Waterwell, Clubbed Thumb, The Public Theater, to name a few. She can be seen on season 2 of The Ms. Pat Show (BET+) and season 3 of Evil (Paramount+).Mei Ann Teo (they/she) is a queer immigrant from Singapore making theatre & film at the intersection of artistic/civic/contemplative practice. Their critically-acclaimed work has been seen at The Bushwick Starr, Waterwell, The Shed, Shakespeare's Globe, Woolly Mammoth, Theaterworks Hartford, Belgium's Festival de Liege, the Edinburgh Fringe, Beijing Int'l Festival, among others. Awards include LPTW Josephine Abady award and the inaugural Lily Fan Director Lilly Awards. They are an Associate Artistic Director and Director of New Work at Oregon Shakespeare Festival.Sarah Hughes has played many roles in her short time in the labor movement, including steward, officer, organizer, and workshop facilitator. She has worked for the National Education Association (NEA), the Professional Staff Congress at the City University of New York (AFT), and university labor studies programs, including CUNY's NY Union Semester. She has also taught a variety of workshops to city workers, electricians, women workers, and others. She holds a masters in labor studies from UMass Amherst. Prior to joining the Labor Notes staff in 2021, Sarah had been a long time fan, subscriber, volunteer trainer and donor. She attended her first Labor Notes conference in 2008, and is excited for many more. She lives in Flatbush with her labor lawyer husband and their toddler, who also loves picket lines. Waterwell is a group of artists, educators and producers dedicated to telling engrossing stories in unexpected ways that deliberately wrestle with complex civic questions. Founded by Andrew Tilson, the Workers Unite Film Festival, now in its 11th season, is a celebration of Global Labor Solidarity.  The Festival aims to showcase student and professional films from the United States and around the world which publicize and highlight the struggles, successes and daily lives of all workers in their efforts to unite and organize for better living conditions and social justice.Superlative, meaning the best of, and Sain meaning to bless, is a multi-talented creative, born in the UK (United Kingdom, England) and raised in Hollis Queens, New York. Born Matthew Munroe, Sain always connected with music by singing with his mother, a vocalist in a church choir who grew up singing. As a child, art was always a passion of Sain's life. Art was always a staple in his life, from drawing full-length comic books to designing logos. Picking up the art of rapping in his early college years, Sain continued with his love of the arts and always wanted to bring his friends with Him wherever he went. Co-creating the creative collective group OGWN with long-time friend Diverze Koncept, he began expanding his ever-growing catalog simply because he loved making music. While pursuing music, he also manages his visual company MMunroeMedia, directing, filming, and editing music videos for other artists, capturing the moment and enhancing the vision with graphics and photography. Superlative Sain takes the term "Artist" to an entirely new level by designing his merch/clothing line, "Be|SUPERLATIVE," Check out this talented artist and be a part of his Rise.• MUSIC and CLIPSThis episode featured clips from “Why Work?” (1996) by Bill Moyers.• TRANSCRIPT: ~coming soon~• Follow us on Twitter and Instagram @BRICTV Visit us online at bricartsmedia.org/Brooklyn-USA

The Portland Art Museum is featuring works of six BIPOC photographers made during the racial justice protests sparked by the murder of George Floyd in 2020. The photos in the "Perspectives" exhibit seek to elevate the stories of people of color, both in the background of the protests but also in the context of how those in BIPOC communities continue to be affected by the coronavirus pandemic. We talk with photographers Daveed Jacobo and Linneas Boland-Godbey to hear more about their experiences and their work.

Episode No. 557 features artist Meghann Riepenhoff and curator Michelle White. Meghann Riepenhoff is included in "Watershed," an exhibition at the University of Michigan Museum of Art that considers the interconnected histories, present lives, and imagined futures of the Great Lakes region. "Watershed" features work by 15 artists, six of whom were commissioned to make new work for the show. Riepenhoff's 2022 Waters of the Americas: EPA ID NYD980592497, Eastman Kodak's Emissions B (Confluence of the Genesee River and Lake Ontario, Rochester, NY, 03.12.2022) is among those commissions. The exhibition was curated by Jennifer M. Friess, and is on view through October 23. Riepenhoff's work foregrounds the chemical processes from which pictures are and have been made since the nineteenth century, and brings those processes into contact with nature, including rivers, lakes and oceans. Her work has been included in exhibitions at SFMOMA, the High Museum of Art, the Portland Art Museum, Crystal Bridges Museum of American Art, and more. This September, Radius and Yossi Milo Gallery will publish Riepenhoff's new book Ice; and Yossi Milo will present related work in its New York space. Indiebound and Amazon offer the book for about $60. White discusses "Niki de Saint Phalle in the 1960s," which is at the Museum of Contemporary Art San Diego through July 17. The exhibition examines two of Saint Phalle's most important bodies of work: the Tirs, or “shooting paintings,” and exuberant sculptures of women Saint Phalle called Nanas. White co-curated the show with Jill Dawsey. The excellent exhibition catalogue was co-published by MCASD and The Menil Collection, which originated the exhibition, and distributed by Yale University Press. Amazon offers it for about $50.