Rick Bartow, Selected Exhibition History
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Oregonquarterly
OregonSUMMER 2015 QUARTERLY THE MAGAZINE OF THE UNIVERSITY OF OREGON Cheer in Style. i s striking “O” is hand made at Skeie’s Jewelers in Eugene Oregon, the home of the Ducks! Please call for price and availability. 10 Oakway Center Eugene, OR 97401 541-345-0354 www.skeies.com 13-1201_Skeies Ad qrtr pg.indd 1 1/27/14 1:10 PM EDITOR’S NOTE dialogue THE MAGAZINE OF THE UNIVERSITY OF OREGON SPRING 2015 • VOLUME 94 NUMBER 3 EDITOR AND PUBLISHER Ann Wiens [email protected] | 541-346-5048 MANAGING EDITOR Jonathan Graham [email protected] | 541-346-5047 SENIOR WRITER AND EDITOR Rosemary Camozzi [email protected] | 541-346-3606 ART DIRECTOR JoDee Stringham [email protected] | 541-346-1593 ADVERTISING DIRECTOR Susan Thelen [email protected] | 541-346-5046 PUBLISHING ADMINISTRATOR Shelly Cooper [email protected] | 541-346-5045 CONTRIBUTING EDITOR Mindy Moreland PROOFREADERS Sharleen Nelson, Scott Skelton INTERN Chloe Huckins EDITORIAL ADVISORY BOARD Mark Blaine, Betsy Boyd, Kathi O’Neil Dordevic, Kathleen Holt, Alexandra Lyons, Kenneth O’Connell, Holly Simons, Mike Thoele WEBSITE OregonQuarterly.com MAILING ADDRESS 5228 University of Oregon Eugene, Oregon 97403-5228 Phone 541-346-5045 EDITORIAL 541-346-5047 ADVERTISING SALES Heather Back, SagaCity Media [email protected] | 971-200-7024 E-MAIL [email protected] OREGON QUARTERLY is published by the UO in February, May, August, and November and distributed free to alumni. Printed in the USA on recycled paper. © 2015 University of Oregon. All rights reserved. Views expressed do -
Christian Marclay
US $25 The Global Journal of Prints and Ideas November – December 2016 Volume 6, Number 4 Panoramic Wallpaper in New England • Christian Marclay • Fantastic Architecture • Ania Jaworska • Barbara Kasten Degas Monotypes at MoMA • American Prints at the National Gallery • Matisse at the Morgan • Prix de Print • News PHILIP TAAFFE The Philip Taaffe E/AB Fair Benefit Prints are available at eabfair.org Philip Taaffe, Fossil Leaves, screenprint, 25x38” variable edition of 30 Philip Taaffe, St. Steven’s Lizards, screenprint, 25x34.5” variable edition of 30 Thanks to all the exhibitors and guests for a great fair! November – December 2016 In This Issue Volume 6, Number 4 Editor-in-Chief Susan Tallman 2 Susan Tallman On the Wall Associate Publisher Catherine Bindman 3 Julie Bernatz A French Panoramic Wallpaper in the Home of a New England Lawyer Managing Editor James Siena and Katia Santibañez 8 Isabella Kendrick Zuber in Otis Associate Editor Susan Tallman 10 Julie Warchol To The Last Syllable of Recorded Time: Christian Marclay Manuscript Editor Prudence Crowther Prix de Print, No. 20 16 Colin Lyons Editor-at-Large Time Machine for Catherine Bindman Abandoned Futures Juried by Chang Yuchen Design Director Skip Langer Exhibition Reviews Julie Warchol 18 Webmaster Ania Jaworska at MCA Chicago Dana Johnson Vincent Katz 21 Matisse Bound and Unbound Joseph Goldyne 25 New Light on Degas’ Dark Dramas Vincent Katz 29 Degas at MoMA Ivy Cooper 33 Prints in the Gateway City Lauren R. Fulton 35 On Paper, on Chairs: Barbara Kasten Book Reviews Paige K. Johnston 38 Higgins’ and Vostell’s Fantastic Architecture Catherine Bindman 40 (Printed) Art in America News of the Print World 43 On the Cover: Christian Marclay, detail of Actions: Splish, Plop, Plash, Plash (No. -
Magazine Wouspring 2008
Magazine WOUSpring 2008 WOU s Kevin Boss became a Super Bowl hero during his first season in the NFL. Letter from the editor Dear Alumni, Greetings from your team in The Cottage. As your new Vice President for University Advancement, I want to thank all of you for the warm welcome I have received. I consider myself very fortunate to be a part of Western Oregon University and will do everything I can on its behalf. In the short time I have been here, I have become aware of the various names that preceded “Western Oregon University.” Although WOU is the name that I connect with, perhaps many of you are more attached to “Western Oregon State College,” or maybe “Oregon College of Education.” While the names have changed, the academic community is still true to its original purpose. In addition to our mission of educating students from the great state of Oregon, we now attract the largest group ever of international students. Our university continues to attract a large percentage of students that are the first in their families to attend college, and the campus hosts one of the most ethnically diverse student populations in the state. WOU helps in creating teachers, educators, and other education related professionals. This continues to be part of our strength, and starting in the fall of 2008, we will add a nursing program to our already rich academic offerings. We are not the same institution we were 25 years ago, and we are continuing to grow in wonderful ways. Recently, a team of our students won the regional College Bowl tournament and at the end of April will head off to the national championships in Minnesota. -
Rick Bartow, Selected Publication History Aldous, Vickie
Rick Bartow, Selected Publication History Aldous, Vickie. “Faith in His Fathers Flows to Canvas.” Ashland Daily Tidings, Weekend Guide. (Ashland, OR) May 20, 2006. section B. Allan, Lois. “Intervals, Frames, and Accelerations at Froelick Adelhart Gallery.” Artweek 31, no. 9 (September 2000): 28-29. Allan, Lois. Bartow: Dance Harder! (Hal o may yah). Portland, OR: Froelick Adelhart Gallery, 1999. Allan, Lois. Contemporary Art in the Northwest. New South Wales, Australia: Craftsman House, Roseville, 1996. American Indian Contemporary Arts Gallery. Visage Transcended Catalogue. San Francisco, CA: American Indian Contemporary Arts Gallery, 1985. Archuleta, Margaret, Joy Gritton, W. Jackson Rushing III, and Rennard Strickland. Shared Visions: Native American Painters and Sculptors in the Twentieth Century. Tempe, AZ: Arizona State University, 1991. Archuleta, Margaret. “Native Sculptures Dominate White House Gardens.” Aboriginal Voices 5, no. 4 (July/August 1998): 34-40. Archuleta, Margaret. “The Fourth Biennial Native American Fine Arts Invitational at the Heard Museum.” American Indian Art Magazine 15, no. 1 (Winter 1989): 54-61. Archuleta, Margaret. Native Streams: Contemporary Native American Art. Terra Haute, IN: Indiana State University, 1996. ARTnews. “Continuum at the National Museum of the American Indian.” ARTnews 102, no. 7. (Summer 2003): 152. Artweek. “New Museum Opens at Willamette University.” Artweek 29, no 10. (October 1998): 2. The Asian Reporter. “Art Inspired by Japanese Zen Buddhist Temples.” The Asian Reporter 9, no. 1 (July 1999): 15. The Asian Reporter. “Arts & Entertainment: Seiichi Hiroshima.” The Asian Reporter (March 12, 2002): 16. Baker, Lori. “But Is It Indian Art?” Phoenix 27, no. 11 (1995): 94-100. Becker, David. “Rick Bartow.” Seasons. -
Rick Bartow Born December 16, 1946, Newport, OR Deceased April 2, 2016, Newport, OR Education 1969 B.A
FROELICK GALLERY Rick Bartow Born December 16, 1946, Newport, OR Deceased April 2, 2016, Newport, OR Education 1969 B.A. Secondary Art Education—Western Oregon State College, Monmouth, Oregon Tribal Affiliation Wiyot, Mad River Band, Northern California Solo Exhibitions 2017 Tot Blumen, Froelick Gallery, OR 2016 Yale University Art Gallery, New Haven, CT Sparrow Song, Froelick Gallery, OR Chiaroscuro Gallery, Santa Fe, NM Selected Works, Stonington Gallery, Seattle, WA 2015 Rick Bartow: From A Private Collection, Little Gallery, Kidder Hall, Oregon State University, Corvallis, OR Things You Know But Cannot Explain, Jordan Schnitzer Museum of Art, University of Oregon, Eugene, OR; traveling to: Gilcrease Museum, Tulsa, OK Boise Art Museum, Boise, ID North Dakota Museum of Art, Grand Forks, ND Shingoethe Center, Aurora University, Aurora, IL IAIA Museum of Contemporary Native Arts, Autry Museum of the American West, Santa Fe, NM Los Angeles, CA Washington State University Museum of Art, The High Desert Museum, Bend, OR Pullman, WA UC Davis, Gorman Museum, Davis, CA Heard Museum, Phoenix, AZ Horizon with Crow, Froelick Gallery, Portland, OR Prints, Schrager & Clarke Gallery, Eugene, OR 2014 Selected Works, Chiaroscuro Contemporary, Santa Fe, NM Rick Bartow: Seeing Through the Eyes of the Ancestors, Gretchen Schuette Gallery, Chemeketa Community College, Salem, OR 2013 Bird Wings, Froelick Gallery, Portland, OR Origin of Song, Stonington Gallery, Seattle, WA 2012 Down the Hill Home, Humboldt State University, Arcata, CA Dog’s Journey, The -
BPA's Native American Art Collection
NATIVE AMERICAN ART COLLECTION BONNEVILLE POWER ADMINISTRATION BPA’s Native American Art Collection 1 BPA’s Native American Art Collection Cover art: “Vision Seekers,” Virgil “Smoker” Marchand, p. 12 Introduction Since the 1980s, BPA has built an art collection featuring significant paintings, prints and sculptures in the Native American tradition. The collection represents the breadth and diversity of expression found in the traditional forms as interpreted by contemporary artists. BPA’s collection reflects the agency’s strong commitment to the diverse history, culture, landscape and peoples of the region. We decided to publish this brochure in celebration of Native American Heritage Month, to share insights into the artists and the artworks in our collection. As a steward of the region’s land and waters, BPA acknowledges its ongoing role in respecting and protecting the environment and all of its cultural resources. Recognizing the tribal histories, and their continuing resonance is of the utmost importance. As we work in consultation with Native American nations, we seek to support and honor their cultural traditions as well as contemporary interpretations. BONNEVILLE POWER ADMINISTRATION Letter from the Sound Pat Austin, 1935 Moving to Alaska in 1965, Pat Austin found a place of artistic inspiration and a supportive and dynamic arts community. She would stay there for over three decades, teaching printmaking at University of Alaska, holding solo shows at the Anchorage Art Museum, and publishing poetry. At the time this print was made and acquired by BPA, in the 1980s, Austin was widely celebrated for her prints inspired by the Alaskan landscape, history, and way of life. -
SPRING/SUMMER 2015 JORDAN SCHNITZER MUSEUM of ART Patron Circle Reception Things You Know but Thursday, April 16, Cannot Explain: 5:30–7:30 P.M
SPRING/SUMMER 2015 JORDAN SCHNITZER MUSEUM OF ART Patron Circle Reception Things You Know But Thursday, April 16, Cannot Explain: 5:30–7:30 p.m. A Symposium Saturday, May 30 RICK BARTOW Public Ceremony Morning Session Friday, April 17, 5:30 p.m. Art & Healing, UO Memorial Quad outside 10 a.m.–12 p.m. Things You Know But Cannot Explain April 18 – August 9, 2015 JSMA Panel discussion with Dr. Opening Reception Patricia Dewey Lambert, Friday, April 17, 6–8 p.m. Program Director, UO Arts and Administration Program, Featuring Rick Bartow and the Rick Bartow is one of Oregon’s best-known artists. Over forty years, he has and Coordinator, Arts in Backseat Drivers band created a powerful body of work, influenced by his Native American heritage, Healthcare Management Con- centration; Sara McDonough, life experiences, physical environment, international travels, and fine art For more event details: LMFT and ATR-BC; Eliza training. In 2012, two of his monumental sculptures were permanently installed jsma.uoregon.edu/ Murphy, writer and healthcare bartowevents professional; and David Reese, on the Mall, outside the Smithsonian’s National Museum of the American graduate student in Philoso- Land, Law, and Liberty: Indian in Washington, D.C. phy and Women’s and Gender Legal Perspectives on Studies, UO. Moderated by Co-curated by Executive Director Jill Hartz and McCosh Associate Curator Tribal Rights Lisa Abia-Smith, Director of Thursday, April 16, Education, JSMA. Danielle Knapp, Rick Bartow: Things You Know But Cannot Explain features 12:30–1:30 p.m. Afternoon Session drawings, paintings, prints, sculpture, and mixed media work. -
Curator and Critic Tours Connective Conversations
CURATOR AND CRITIC TOURS CONNECTIVE CONVERSATIONS: INSIDE OREGON ART 2011–2014 THE FORD FAMILY FOUNDATION AND UNIVERSITY OF OREGON 2 3 The Ford Family Foundation’s Visual Arts program honors the interests in the visual arts by Mrs. Hallie Ford, a co-founder of The Foundation. The principal goals are to help enhance the quality of artistic endeavor and body of work by Oregon’s most promising visual artists and to improve Oregon’s visual arts ecology by making strategic investments in Oregon visual arts institutions. The program was launched in 2010, and in 2014 it was extended through TABLE OF CONTENTS 2019. The Foundation supports a range of program components, among them Connective Conversations as part of the Curator and Critic Tours and Lectures Series during which it partners with regionally-based institutions to invite professionals from outside the Northwest to conduct one-on-one studio visits and to join in community conversations. The Ford Family Foundation has collaborated with the University of Oregon School of Architecture and Allied Arts to conduct the Connec- o6 o7 o8 tive Conversations | Inside Oregon Art Series since its launch in 2011. THE FORD FAMILY INTRODUCTION IN THE STUDIO Kate Wagle, Director, George Baker, Curator Critic The Curator and Critic Tours and Lectures Series is the seventh and final FOUNDATION element of The Ford Family Foundation’s Visual Arts Program’s investment in VISUAL ARTS PROGRAM UO School of Architecture Professor of Art History Oregon visual arts institutions. Anne C Kubisch, President, and Allied Arts in Portland University of California This publication is made possible by The Ford Family Foundation and the University of Oregon. -
Tears and Rain One Artist’S View from Sea Level by Rebecca J
OHS EXHIBITS Tears and Rain One Artist’s View from Sea Level by Rebecca J. Dobkins RICK BARTOW’S WORK AFFIRMS categorization as a “Native American the power of close observation and the artist.” In addition to many contem- interconnectedness of humanity with porary indigenous artists, he counts all forms of life. Accepting his invita- as influences European artists who tion to see more carefully and to feel work expressionistically with human connections more deeply brings us a and animal forms and who explore the greater understanding of this place we fantastic and the emotional, including now call Oregon. Bartow’s source of Marc Chagall (Russian, 1887–198), sight is grounded in close observation Francis Bacon (British, 1909–1992), of his surroundings on the Oregon Odilon Redon (French, 180–1916), coast and in understanding that which and Horst Janssen (German, 1929– is not immediately obvious: the pres- 199). Ultimately, however, Bartow’s ence of the past, the impact of change, work has its genesis in the land and the stories that lurk within every crea- light of his home place. ture and corner. Bartow was born in Newport, Bartow’s work is provocative, insis- Oregon, in 196. His family has been tent, and engaging. For some, the mul- in Oregon nearly a hundred years. tiple layers of significance in his images In 1911, his grandfather John Bartow may be ambiguous or hard to read. But walked over three hundred miles from careful looking rewards viewers, who McKinleyville, California, to Lincoln are invited to recognize their place in City. The Bartow family eventually the network of human-animal kin settled in South Beach, Oregon, and relations that Bartow reveals. -
Papers 02&23 11 08.Qxd
Volume 24 February 2016 www.gtrnews.com IN THIS ISSUE: TPS ANNOUNCES TEACHERS OF THE YEAR VA R I E T Y ROSSY GILLE for GTR Newspapers Tulsa Public Schools’ site Teachers of the Year had an opportunity in January to meet with former Teacher of the Year recipients in order to gain support, guidance and feedback in creating their portfolios, which will be evaluated to determine the Oklahoma State Teacher of the Year. n Jan. 15, Tulsa Public Columbus Elementary Grimes Elementary Lewis and Clark Elementary OSchools’ site Teacher of the Teacher: Julia Hanna Teacher: Sarah Elmore Teacher: Mary Kosofsky Year winners met with previous Support Staff: Kelly Cox Support Staff: Ermil Support Staff: Wendy Archer Teacher of the Year recipients at Cooper Elementary Stemkowski Lindbergh Elementary East Central High School, 12150 Teacher: Robert Kaiser Grissom Elementary Teacher: Elizabeth Lovejoy E. 11th St. Past honorees worked Support Staff: Darchelle Teacher: Karen Fowlkes with their 2016 counterparts to MacArthur Elementary Overstreet Support Staff: Thonglack Teacher: Carrie Welch help them develop their portfolios Jensen E C ON O M Y that will later be used to determine Disney Elementary Support Staff: Phyllis Wells the winner of the Oklahoma State Teacher: Sharon Cherry Hale High School Margaret Hudson Teacher of the Year. Support Staff: Annmarie Boyce Teacher: Kristina Vassella Teacher: Kelly Harrod The former Teachers of the Year Dual Language Academy Support Staff: Valerie Perry Sunderland presented their experiences and Teacher: Christopher Lopez Hale Jr High School Mark Twain Elementary processes for portfolio develop- Support Staff: Sudi Beck Teacher: Lisa Stovall Teacher: Janelle Barnett ment. -
Many Wests: Artists Shape an American Idea
Many Wests: Artists Shape an American Idea Many Wests: Artists Shape an American Idea July 31, 2021 - February 13, 2022 Ideas about the American West, both in the popular imagination and in commonly accepted historical narratives, are often based on a past that never was, and fail to take into account important events that actually occurred. At once, “The West” can conjure images of rugged colonial settlers, gun-toting-cowboys, or vacant expanses of natural beauty. Many Wests: Artists Shape an American Idea offers multiple views of “The West” through the perspectives of forty-eight modern and contemporary artists. Their artworks question old and racist clichés, examine tragic and marginalized histories, and illuminate the many communities and events that continue to form this region of the United States. The exhibition explores the specific ways artists actively shape our understanding of the life, history and myths of the American West. National Tour Many Wests features artwork from the permanent collections of the Smithsonian American Art Museum and four partner museums located in some of the fastest- growing cities and states in the western region of the United States. The collaborating partner museums are the Boise Art Museum in Idaho; the Jordan Schnitzer Museum of Art in Eugene, Oregon; the Utah Museum of Fine Arts in Salt Lake City; and the Whatcom Museum in Bellingham, Washington. It is the culmination of a multi-year, joint curatorial initiative made possible by the Art Bridges Foundation. This is one in a series of American art exhibitions created through a multi-year, multi-institutional partnership formed by the Smithsonian American Art Museum as part of the Art Bridges Initiative. -
Joe Feddersen Vital Signs Joe Feddersen Vital Signs
JOE FEDDERSEN VITAL SIGNS JOE FEDDERSEN VITAL SIGNS Rebecca J. Dobkins With contributions by Barbara Earl Thomas Gail Tremblay Copyright © 2008 by the Hallie Ford Museum of Art, Willamette University, and the University of Washington Press “Introduction” © 2008 by Barbara Earl Thomas CONTENTS “Joe Feddersen: Pulses and Patterns” © 2008 by Rebecca J. Dobkins “Speaking in a Language of Vital Signs” © 2008 by Gail Tremblay All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information stor - age or retrieval system, without permission in writing from the publisher. Hallie Ford Museum of Art Willamette University PREFACE 900 State Street Salem, OR 97301 John Olbrantz www.willamette.edu/museum_of_art/index.htm 9 University of Washington Press PO Box 50096 Seattle, WA 98145-5096, USA INTRODUCTION www.washington.edu/uwpress Barbara Earl Thomas Library of Congress Cataloging-in-Publication Data 13 Dobkins, Rebecca J. Joe Feddersen : vital signs / Rebecca J. Dobkins, Barbara Earl Thomas, and Gail Tremblay. — 1st ed. JOE FEDDERSEN: PULSES AND PATTERNS p. cm. — (Jacob Lawrence series on American artists) Includes bibliographical references. Rebecca J. Dobkins ISBN 978-0-295-98860-3 (pbk. : alk. paper) 1. Feddersen, Joe, 1958– —Themes, motives. I. Thomas, Barbara Earl, 1948– 17 II. Tremblay, Gail. III. Feddersen, Joe, 1958– IV. Hallie Ford Museum of Art. V. Title. N6537.F36D63 2008 SPEAKING IN A LANGUAGE OF VITAL SIGNS 709.2—dc22 2008016223 Gail Tremblay 35 ISBN 978-0-295-98860-3 Printed in Canada PLATES Front cover: Okanagan II (detail), 2002.