DOCSLIB.ORG

Press Release

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Press Release FOR IMMEDIATE RELEASE Kill: November 01, 2020 WHO: James Lavadour WHAT: EXPECTING RAIN WHEN: September 30 - October 31, 2020 WHERE: PDX CONTEMPORARY ART 925 NW Flanders Street, Portland, OR 97209 HOURS: 10:00 am – 4:00 pm Wednesday - Saturday, or by appointment ADMISSION: Free EXHIBITION NOTES: PDX CONTEMPORARY ART is pleased to present EXPECTING RAIN, an exhibition of new work by James Lavadour. James Lavadour lives and works on the Umatilla Reservation near Pendleton, Oregon. He begins each day in the studio, rising before the sun, to get started on work. Just when the sun begins to rise, the Artist leaves his studio to go for a walk or a drive to witness the land waking up. Although Lavadour’s paintings are not based on direct observation, the time spent looking, hearing, and feeling the natural world that surrounds him—his Native land— deeply informs his work. James Lavadour, HOWL, 2020, oil on panel, 28” x 32” Lavadour speaks about being one with the land. His physical, process-oriented practice is one that yields abstract expressionist paintings; accumulations of marks through addition and subtraction are acts of nature in the same way that geological events are acts of nature. In this exhibition, a spectacular and monumental grid painting, composed of eighteen panels, “EXPECTING RAIN,” is one of, if not the most ambitious and accomplished works of his career. In addition to this major work, the exhibition includes six new single-panel works and one diptych. All of the work in the show will be documented in an exhibition catalog that will be made available in the coming weeks. Among the awards and fellowships Lavadour has received over the course of his career are the 2019 Hallie Ford Fellowship Award from The Ford Family Foundation, an Honorary Doctorate of Human Letters from Eastern Oregon University, the Eiteljorg Museum Artist Fellowship, the Award for Visual Arts from the Flintridge Foundation, the Joan Mitchell Award, the Seattle Art Museum’s Betty Bowen Memorial Recognition Award, and numerous large commissions throughout the Pacific Northwest. James Lavadour’s work was featured as one of only 102 artists selected for the Crystal Bridges Museum of American Art’s seminal survey exhibition, State of the Art: Discovering American Art Now and at the 55th Venice Biennale in Personal Structures. Lavadour’s works are included in the permanent collections of the Whitney Museum of American Art (New York, NY), Smithsonian National Museum of the American Indian (Washington, DC), Crystal Bridges Museum of American Art (Bentonville, AR), Seattle Art Museum (Seattle, WA), Portland Art Museum (Portland, OR), Tacoma Art Museum (Tacoma, WA), Boise Art Museum (Boise, ID), Crocker Art Museum (Sacramento, CA), the Eiteljorg Museum (Indianapolis, IN), the Hallie Ford Museum of Art (Salem, OR), The Hood Museum ### contact: Jane Beebe [email protected] 503-222-0063 (Hanover, NH), The Heard Museum (Phoenix, AZ), the corporate collections of Bank of America and Microsoft, as well as numerous other public and private collections. The Work: • landscape-based expressive, abstract paintings • colorful, multi-layered panels in oil paint • one monumental eighteen panel painting, one diptych, and six individual panels The Artist: • Lives and works on the Umatilla Reservation near Pendleton, Oregon • Walla Walla, an enrolled member of the Confederated Tribes of the Umatilla Indian Reservation • Included in the collections of the Whitney Museum of American Art (New York, NY), Crystal Bridges Museum of American Art (Bentonville, AR), the Smithsonian Museum of the American Indian (Washington, D.C.), among others..
Load more

Recommended publications
  • James Lavadour
    ! JAMES LAVADOUR BORN Pendleton, Oregon (1951) SELECTED SOLO EXHIBITIONS 2018 All that I can see from here, PDX CONTEMPORARY ART, Portland, OR 2017 Recent Findings, Cumberland Gallery, Nashville, TN 2016 Ledger of Days, PDX CONTEMPORARY ART, Portland, OR 2015 James Lavadour: Land of Origin, MAC Gallery, Wenatchee Valley College, Wenatchee, WA 2014 Fingering Instabilities, PDX CONTEMPORARY ART, Portland, OR 2012 The Interior, PDX CONTEMPORARY ART, Portland, OR 2011 Paintings, Grover/Thurston Gallery, Seattle, WA 2010 Geographies of the Same Stone: for TT, PDX CONTEMPORARY ART, Portland, OR 2009 Grover/Thurston Gallery, Seattle, WA 2008 The Properties of Paint, Hallie Ford Museum, Willamette University, Salem, OR; (traveled): Schneider Museum of Art, Southern Washington University, Ashland, OR; Tamastslikt Cultural Institute, Pendleton, OR Close to the Ground, PDX CONTEMPORARY ART, Portland, OR 2006 Sun Spots, PDX CONTEMPORARY ART, Portland, OR Rain, Cumberland Gallery, Nashville, TN Magic Valley, Gail Severn Gallery, Ketchum, ID 2005 Eiteljorg Museum of American Indians and Western Art, Indianapolis, IN Grover/Thurston Gallery, Seattle,WA Walk, PDX CONTEMPORARY ART, Portland, OR (shown at 219 NW 12th) 2004 Cumberland Gallery, Nashville, TN 2003 Romantic Landscape, PDX CONTEMPORARY ART, Portland, OR New Camp, Grover Thurston, Seattle, WA Gail Severn Gallery, Ketchum, ID 2002 Intersections II, PDX CONTEMPORARY ART, Portland, OR Intersections, Maryhill Museum of Art, Goldendale, WA 2001 Retrospective, Northwest Museum of Arts & Culture, Spokane,
    [Show full text]
  • James Lavadour
    JAMES LAVADOUR BORN Pendleton, Oregon (1951) SELECTED SOLO EXHIBITIONS 2020 EXPECTING RAIN, PDX CONTEMPORARY ART, Portland, OR 2018 All that I can see from here, PDX CONTEMPORARY ART, Portland, OR Land of Origin, Foundry Vineyards, Walla Walla, WA 2017 Recent Findings, Cumberland Gallery, Nashville, TN 2016 Ledger of Days, PDX CONTEMPORARY ART, Portland, OR 2015 James Lavadour: Land of Origin, MAC Gallery, Wenatchee Valley College, Wenatchee, WA 2014 Fingering Instabilities, PDX CONTEMPORARY ART, Portland, OR 2012 The Interior, PDX CONTEMPORARY ART, Portland, OR 2011 Paintings, Grover/Thurston Gallery, Seattle, WA 2010 Geographies of the Same Stone: for TT, PDX CONTEMPORARY ART, Portland, OR 2009 Grover/Thurston Gallery, Seattle, WA 2008 The Properties of Paint, Hallie Ford Museum of Art, Willamette University, Salem, OR; (traveled): Schneider Museum of Art, Southern Washington University, Ashland, OR; Tamastslikt Cultural Institute, Pendleton, OR Close to the Ground, PDX CONTEMPORARY ART, Portland, OR 2007 Grover/Thurston Gallery, Seattle,WA 2006 Sun Spots, PDX CONTEMPORARY ART, Portland, OR Rain, Cumberland Gallery, Nashville, TN Magic Valley, Gail Severn Gallery, Ketchum, ID 2005 Grover/Thurston Gallery, Seattle,WA Walk, PDX CONTEMPORARY ART, Portland, OR (shown at 219 NW 12th) 2004 Cumberland Gallery, Nashville, TN 2003 Romantic Landscape, PDX CONTEMPORARY ART, Portland, OR New Camp, Grover Thurston, Seattle, WA Gail Severn Gallery, Ketchum, ID 2002 Intersections II, PDX CONTEMPORARY ART, Portland, OR Intersections, Maryhill Museum
    [Show full text]
  • James Lavadour
    JAMES LAVADOUR BORN Pendleton, Oregon (1951) SELECTED SOLO EXHIBITIONS 2020 EXPECTING RAIN, PDX CONTEMPORARY ART, Portland, OR 2018 All that I can see from here, PDX CONTEMPORARY ART, Portland, OR Land of Origin, Foundry Vineyards, Walla Walla, WA 2017 Recent Findings, Cumberland Gallery, Nashville, TN 2016 Ledger of Days, PDX CONTEMPORARY ART, Portland, OR 2015 James Lavadour: Land of Origin, MAC Gallery, Wenatchee Valley College, Wenatchee, WA 2014 Fingering Instabilities, PDX CONTEMPORARY ART, Portland, OR 2012 The Interior, PDX CONTEMPORARY ART, Portland, OR 2011 Paintings, Grover/Thurston Gallery, Seattle, WA 2010 Geographies of the Same Stone: for TT, PDX CONTEMPORARY ART, Portland, OR 2009 Grover/Thurston Gallery, Seattle, WA 2008 The Properties of Paint, Hallie Ford Museum of Art, Willamette University, Salem, OR; (traveled): Schneider Museum of Art, Southern Washington University, Ashland, OR; Tamastslikt Cultural Institute, Pendleton, OR Close to the Ground, PDX CONTEMPORARY ART, Portland, OR 2007 Grover/Thurston Gallery, Seattle,WA 2006 Sun Spots, PDX CONTEMPORARY ART, Portland, OR Rain, Cumberland Gallery, Nashville, TN Magic Valley, Gail Severn Gallery, Ketchum, ID 2005 Grover/Thurston Gallery, Seattle,WA Walk, PDX CONTEMPORARY ART, Portland, OR (shown at 219 NW 12th) 2004 Cumberland Gallery, Nashville, TN 2003 Romantic Landscape, PDX CONTEMPORARY ART, Portland, OR New Camp, Grover Thurston, Seattle, WA Gail Severn Gallery, Ketchum, ID 2002 Intersections II, PDX CONTEMPORARY ART, Portland, OR Intersections, Maryhill Museum
    [Show full text]
  • Capitol Art Collection: Three Decades Later Meagan Atiyeh
    ART OF THE TIME oregon’s state capitol art collection oregon’s state capitol art collection I Oregon State Capitol 900 Court Street NE Salem, Oregon 97301 http://www.leg.state.or.us/capinfo/ Oregon Arts Commission 775 Summer Street NE Salem, Oregon 97301 www.oregonartscommission.org The Ford Family Foundation has provided funding to print additional copies of this publication for distribution to Oregon libraries, universities, curators and arts institutions. The Foundation’s new Art Acquisitions Program, a component of its Visual Arts Program, supported the purchase of James Lavadour’s Flag 2 for the State Capitol Collection. Copyright © 2011, Oregon Arts Commission All rights reserved II art of the time ART OF THE TIME oregon’s state capitol art collection This catalog is published on the occasion of the reinstallation of the Oregon State Capitol Art Collection, January 2011. The reinstallation project was made possible by Oregon’s Percent for Art in Public Places program, ors 276.080, and facilitated by the Oregon Arts Commission. The Capitol Art Collection is owned by the Oregon State Capitol on behalf of the State of Oregon, and publicly accessible to all. Contents 3 Foreward Christine D’Arcy 5 The Capitol Art Collection: Three Decades Later Meagan Atiyeh 19 A Collection of Photographs Jennifer Stoots and Lawrence Fong 23 Plates 70 Floorplan oregon’s state capitol art collection 1 figure 1. Louis Bunce (1907–1983). Midway #5. 1975. Oil on canvas. One of the paintings conserved during the reinstallation. Cleaned and re-stretched, Midway #5 is now displayed prominently in the Capitol’s State Street Entrance.
    [Show full text]
  • 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.
    [Show full text]
  • JAMES LAVADOUR JAMES Both Directions at Once (Detail), 2018 Oil on Panel Overall Dimensions 90 X 102 X 2 In
    The Ford Family Foundation Visual Arts Program JAMES LAVADOUR Both Directions at Once (detail), 2018 Oil on panel Overall dimensions 90 x 102 x 2 in Land of Origin, 2015 Oil on panel Overall dimensions 39 x 78 in Slice, 2001 Oil on linen 31 x 62 in Previous page Land of Origin (detail), 2015 Oil on panel Overall dimensions 39 x 78 in JAMES LAVADOUR by Emily Zimmerman “ Painting is not about making pictures, rather it is a transfiguration of energy from one state into another.” — James Lavadour James Lavadour’s paintings distill the essence of the forces that shape and reshape the landscape: eruption, deformation, sedimentation, erosion. His paintings do not simply represent these physical forces, but partici- pate in them, revealing the interdependence of painting with the natural Lavadour’s artistic process extends over long stretches of time, moving world. As Lavadour says, “everything in nature is in me, when I move at a tectonic pace, harnessing the power of deep time and prolonged a brush, it’s an act of nature. Everything in the paint is in the land, an engagement. In his studio, he works on 100 paintings at a time over understanding that predates science.”1 Art-making is a way of knowing the course of a decade on the topology of a painting’s surface. His and participating in these forces, as art viewership is a way of recalling process is open-ended, exploratory, and subject to natural rhythms. He marks made upon its materiality not simply its appearance. Abstract and knows when a painting is done when it achieves a sense of rest and bold, Lavadour’s paintings course with the same kinetic energies that run balance: “It’s like rolling a rock down a hill,” he says, “it keeps going until through the natural world.
    [Show full text]
  • JAMES LAVADOUR: the Properties of Paint JAMES LAVADOUR: the Properties of Paint
    JAMES LAVADOUR: The Properties of Paint JAMES LAVADOUR: The Properties of Paint Rebecca J. Dobkins and James Lavadour I see time, space, and event in the properties of I am interested most in paint when it is flowing in paint. The properties of paint are infinite, and a mass, and the particles of pigment are like rocks in a painting is a model for infinity. The essence of paint - flood stream moving and fanning into sedimentary ing is an organic event. 1 masses. Things happen, patterns appear, objects emerge. A painting is not created, it is revealed. In 2000, the painter James Lavadour began a body of To me, it means we are alive and we are connected work that came to him with a force he describes in in thought. volcanic terms—an explosion, an outflowing of ener - gy. Up until that time, Lavadour was best known for Born in 1951 in Pendleton, James Lavadour grew up kinetic landscape paintings that are evocative of the in a family “where everyone made or did something 2 geological forces that shaped the earth of his home - that could be called art.” Lavadour’s father, Joseph, land, the Blue Mountains of eastern Oregon. Working came from a Native family with many branches— French Canadian, Chinook, Walla Walla, and in tones of earth and fire, Lavadour uses processes of Untitled Assiniboine Sioux—and his mother, Colleen, is of layering, scraping, and wiping that in macrocosm and 2000 over millennia also formed the hills and ridges the German-Irish descent. Lavadour began seriously Oil on paper painting by the time he was twenty, and among his 19 x 27 1/2” artist grew up walking, around the Umatilla Indian Courtesy of the Artist and PDX Reservation.
    [Show full text]
  • Inclusivity Or Sovereignty? Native American Arts in the Gallery and the Museum Since 1992
    Art Journal The mission of Art Journal, formded in 1941, is to provide a forum for Vol. 76, no. 2 scholarship and visual exploration in the visual arts; to be a unique voice in the Summer 2017 field as a peer-reviewed, professionally mediated forum for the arts; to operate in the spaces between commercial publishing, academic presses, and artist EdItor-in-Chlef Rebecca M. Brown presses; to be pedagogically useful by making links between theoretical issues Reviews Editor Kirsten Swenson and their use in teaching at the college and university levels; to explore rela­ Web Editor Rebecca K. Uchill tionships among diverse forms of art practice and production, as well as among Editorial Director Joe Hannan art making, art history, visual studies, theory, and criticism; to give voice and Editorial Assistant Gavin VN^ens publication opportunity to artists, art historians, and other writers in the arts; Designer Katy Homans to be responsive to issues of the moment in the arts, both nationally and glob­ Production Manager Nerissa Dominguez Vales ally; to focus on topics related to twentieth- and twenty-first-century concerns: Director of Publications Betty Leigh Hutcheson to promote dialogue and debate. Editorial Board JuanVicenteAliaga, Tatiana E. Flores, Talinn Grigor, Amelia G. Captions in Art Journal and The Art Bulletin use standardized language Jones, Janet Kraynak.Tirza Latimer (Chair), Derek Conrad Murray to describe image copyright and credit information, in order to clarify the copyright status of all images reproduced as far as possible, for the benefit Art (issn 0004-3249) is published quarterly by Taylor & Francis Group.
    [Show full text]
  • Moving Beyond a Human Relations Approach in Multicultural Art Education Practice
    International Journal of Education & the Arts Editors Terry Barrett Peter Webster The Ohio State University University of Southern California Eeva Anttila Brad Haseman Theatre Academy Helsinki Queensland University of Technology http://www.ijea.org/ ISSN: 1529-8094 Volume 17 Number 4 March 10, 2016 Moving Beyond a Human Relations Approach in Multicultural Art Education Practice Christina Chin Western Michigan University, USA Citation: Chin, C. (2016). Moving beyond a human relations approach in multicultural art education practice. International Journal of Education & the Arts, 17(4). Retrieved from http://www.ijea.org/v17n4/. Abstract While literature on multicultural education indicates that Human Relations approaches to multicultural education are the most commonly practiced, such approaches also tend to be the most heavily critiqued by theorists. Scholars often offer speculative theoretical suggestions on how to improve upon Human Relations approaches. However, ethnographic case studies showing how such suggestions are carried out in the artroom at the elementary level are virtually non-existent in the literature. This article aims to provide readers with an illustrative case of how, in practice, an elementary art teacher is moving beyond the most heavily critiqued characteristics of Human Relations approaches. Descriptive detail is provided to paint a vivid picture of how she implements her curriculum, so that other art educators might draw from her practices and apply similar strategies within their own artrooms, as they see fit. IJEA Vol. 17 No. 4 - http://www.ijea.org/v17n4/ 2 Introduction While literature on multicultural education indicates that Human Relations approaches1 to multicultural education are the most commonly practiced, such approaches also tend to be the most heavily critiqued by theorists.
    [Show full text]