Brenna Murphy [email protected]
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Matthew Dennison Born 1961 Portland, Oregon
FROELICK GALLERY Matthew Dennison Born 1961 Portland, Oregon Education 1981-2 Pacific Northwest College of Art, Portland, OR Solo Exhibitions 2018 Democracy, Froelick Gallery, Portland, OR Carvings and Cabinets, Astoria Vintage Hardware, Astoria, OR 2016 Commensalism, Froelick Gallery, Portland, OR 2014 Physical Verse, Froelick Gallery, Portland, OR 2013 Connectivity, Abmeyer + Wood, Seattle, WA 2012 A Current History of Encroachment, Froelick Gallery, Portland, OR 2010 The Memory of New Things, Froelick Gallery, Portland, OR 2009 Mutualism, Melanee Cooper, Chicago, IL 2008 Permutation, Froelick Gallery, Portland, OR 2007 Vistories, Melanee Cooper Gallery, Chicago, IL 2006 Poiesis, Froelick Gallery, Portland, OR 2005 Neologism, Friesen Gallery, Seattle, WA 2004 Ardent Cloud, Froelick Gallery, Portland, OR The Vasana Text, Melanee Cooper Gallery, Chicago, IL 2003 Zenithal, Froelick Gallery, Portland, OR Design, Chicago, IL ٠ The Glyphic Current, Tigerman Himmel: Decorative Art 2002 Proximal Content, Friesen Gallery, Sun Valley, ID The Ouragan Fuse Project: Giant Paintings by Matthew Dennison, Stumptown—Belmont Portland, OR 2001 Afferent Seam, Froelick Gallery, Portland, OR The Paintings of Mincing Hewn, The Fountainhead Gallery, Seattle, WA 2000 The Mapping of Shaped Hully, Froelick Adelhart Gallery, Portland, OR (color catalogue) 1999 New Paintings, Froelick Adelhart Gallery, Portland, OR 1998 The Fountainhead Gallery, Seattle, WA 1997 Vita, Portland, OR The Fountainhead Gallery, Seattle, WA 1996 Vita, Portland, OR 1995 D.O.T. Northwest -
Todd Johnson
Todd Johnson www.toddjohnson.info Born 1966 Sacramento, California Lives and works in Portland, Oregon EDUCATION 1998 Master of Fine Arts in Photography San Francisco Art Institute, San Francisco, CA 1994 Bachelor of Arts in Photography, minor in Philosophy California State University Sacramento, Sacramento, CA 1991 Associate of Arts American River Junior College, Sacramento, CA 1985 GED Diploma Montgomery High School, Santa Rosa, CA ACADEMIC EXPERIENCE Portland Community College, Portland, Oregon Adjunct Instructor: 2005-2020 Digital Photography, Film Photography and Digital Video (Art) Reed College, Portland, Oregon Digital Media Lab and Photography Technician (Art Department): 2004-2011 Marylhurst University, Marylhurst, Oregon Exhibition Designer and Preparator (Art Technician): 2001-2003 San Francisco Art Institute, San Francisco, California Teaching Assistant: 1997-1998 Installation, Collaboration and Assemblage – Photography and Sculpture Images of the Self – Self Portraits California State Universtiy Sacramento, Sacramento, California Teaching Assistant: 1994 Photo Construction and Invention – Historic Processes SOLO EXHIBITIONS 2015 Malt Liquor and Cold Cuts, FalseFront Gallery, Portland, Oregon 2013 The Misadventures of Ansel Adams: Garage Sales, Geo Tracking and General Tomfoolery The Art Gym, Marylhurst University, Marylhurst, Oregon 2008 Dangerous Territory, PNCA, Portland, Oregon Sport and Leisure, Davis and Cline Gallery, Ashland, Oregon 2006 Lace Patterns, Augen Gallery, Portland, Oregon 2000 Discontinuous Systems, Midway -
B R I a N G I L L
GillisLAB.com [email protected] B R I A N G I L L I S (619) 335.7163 5232 University of Oregon Eugene, OR 97403 S E L E C T E D S O L O E X H I B I T I O N S 2015 Possible Medicine, Emile Levassor Museum of Art, Missoula, MT 2014 His Room, Gallery 2.5, Illinois State University, Bloomington, IL The Tome, Doris Ulmann Gallery, Berea College, Berea, KY 2013 Maps and Bridges, Heilongjiang University School of Art Gallery, Harbin, PR China Of Ghosts and Speculation, Birmingham Museum of Art, Birmingham, AL Of Ghosts and Speculation, Georgia Museum of Art, Athens, GA 2012 Of Ghosts and Speculation, Columbia Museum of Art, Columbia, SC Of Ghosts and Speculation, Milwaukee Art Museum, Milwaukee, WI Free Radio, CUE Art Foundation, New York, NY 2011 40 Years, Frontier Space, Missoula, MT 2010 NO!, Kirkland Art Center, Kirkland, WA …on Wednesday, Cascade Gallery, Portland, OR 2009 An Expeditionary Journal, The White Stag Block, Portland, OR NOW!, Tacoma Contemporary, Tacoma, WA A New World: On Taking The Long Way Home, Urban Institute for Contemporary Arts, Grand Rapids, MI You Deserve More, The Ice House, Phoenix, AZ 2008 In 1908…, Abraham Lincoln Presidential Library and Museum, Springfield, IL Communication, Merwin & Wakeley Gallery, Ames School of Art, Bloomington, IL 2007 On Strangers, S.O.F.A. Gallery, Sam Houston State University, Huntsville, TX Brian Gillis, Milikin University Gallery, Decatur, IL The Storyteller, UIS Gallery, U of I at Springfield, Springfield, IL 2004 History of Contemporary Ceramics XXXVI, 16ft. -
In Conversation with Claudia Hart
Interview for the INTERNATIONAL JOURNAL FOR DIGITAL ART HISTORY (d ahj.org) , Scheduled for July 2020 Publication of issue #5 on the history of digital art. Interview with Claudia Hart by Tina Sauerlaender, independent curator and guest editor of the issue #5 of the DAHJ. > keep confidential and do not distribute < In Conversation with Claudia Hart: “ Technocratic patriarchy vs. me – a romantic anarchistic warrior princess” Tina Sauerlaender (TS): Your whole career path has been a rather kaleidoscopic process of working with and i n d ifferent media: after studying architecture, you became an editor and writer, and then focused on painting/illustration and installation, eventually moving on to study animation – leading you to to 3D animation art, while continuing critical writing. Viewing this hurricane of activity in retrospect: Does your praxis have a silent center – a philosophical question, which you continue to explore from every angle? –or is the only ‘thing’ standing in the eye of the hurricane yourself, the artist? Claudia Hart (CH): I think I have to qualify my answer by providing a bit of personal narrative. What might appear from a distance to be a theoretical position on my part is actually a process of psychoanalytic self analysis. In other words, to use your terms, I position myself as both the eye of the hurricane. In fact, I was born IN one, Hurricane Connie, so much so that my mother barely made it in a NY taxi to the hospital. I was therefore named after it: I am Claudia Constance. So I am the “I” of the hurricane, but also its deconstruction. -
DIGITAL ART and FEMINISM: a SURREAL RELATIONSHIP Anne Swartz Provided Byhumanitiescommons Brought Toyouby
10 Anne Swartz View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Humanities Commons DIGITAL ART AND FEMINISM: A SURREAL RELATIONSHIP SURREAL A AND FEMINISM: ART DIGITAL DIGITAL ART AND FEMINISM: A SURREAL RELATIONSHIP Anne Swartz Many of the images in this exhibition reveal similar interests, themes, and aesthetics to those seen in feminist Art.1 The artists— (PLOLD)RUVWUHXWHU-HQQLIHU+DOO&ODXGLD+DUW<DHO.DQDUHN-HDQHWWH/RXLH5DQX0XNKHUMHH0DU\%DWHV1HXEDXHU0DULH Sivak, Camille Utterback, Adrianne Wortzel, and Janet Zweig—rely on technology as a tool to explore geopolitics, geological phenomenon, obsolete media, data streams and sets, illusion, shifting identities, phantasmagorias, eroticism, bodies, landscapes, geography, and memory. They are not afraid to confront assumptions or propaganda, even challenging conventions and traditions. They show us diverse, alternate domains and generate narratives of augmented worlds. Common to their artworks is the surreal, employed innovatively and underscored by the radical politics of feminism to change society in order to advance it. It is a kind of new romanticism where the real is meshed with fantasy so that the boundaries between the two dissolve. These artists have created pieces that require the viewer’s time; scanning and experiencing the entirety of their respective works over time transports one to their wild and imagined realms. It is easy to lose one’s bearings with these works because they rely upon mysterious disorientation to the viewer’s prosaic and commonplace experiences. It is a situation that is wholly based on the personal, which has been one of the cornerstone themes of feminist art. -
Figure 1 Claudia Hart, the Swing, 2006. Three-Channel Animation, One of Three Channels, Each 720 £ 1280 Pixels, with Stereo Sound by Kurt Hentschla¨Ger, 10 Min
Figure 1 Claudia Hart, The Swing, 2006. Three-channel animation, one of three channels, each 720 £ 1280 pixels, with stereo sound by Kurt Hentschla¨ger, 10 min. Courtesy the artist and bitforms gallery, New York Downloaded from http://read.dukeupress.edu/cultural-politics/article-pdf/9/1/86/247059/86.pdf by guest on 01 October 2021 BEGINNING and END GAMES A Parable in 3D Claudia Hart or many years, I was primarily a painter, and I exhibited F paintings, objects, and photographs in the contemporary art context, first in New York beginning in 1988 and later in Berlin. Then in the late 1990s, I began working with three-dimensional, or 3D, computer imaging for the first time. In the mid-1990s, 3D animation software, or Maya, as it is called, was not available for the personal computer. It was supported exclusively on the UNIX operating system, typically available only in large corporations or academic institutions. So in 1997 I began taking classes at New York University’s Center for Advanced Digital Applications in order to gain access both to Maya and to the center’s sophisticated computer labs. Learning 3D animation was quite challenging, and although I was an early adopter of computers, nothing I had previously done prepared me for the mathematical and technical rigor of spatial 3D imaging or the culture that surrounded it. When it came to courses in Maya or virtual reality simulations, there were hardly any women enrolled in classes. I was also one of only a small coterie of contemporary artists working with this software, since, until recently, 3D animation and imaging existed completely outside the purview of contemporary art discourse. -
John Dogg Pseudonym Used by Richard Prince (B
This document was updated on January 5, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. John Dogg Pseudonym used by Richard Prince (b. 1947, Panama Canal Zone), active 1986 – present. EDUCATION University of Minnesota (Painting and Philosophy) New York University SELECTED PUBLIC COLLECTIONS The DESTE Foundation of Contemporary Art, Athens MAMCO, Geneva The Rubell Family Collection, Miami The Whitney Museum of American Art, New York SOLO + GROUP EXHIBITIONS 2018 Brand New: Art and Commodity in the 1980s, cur. Gianni Jetzer, Hirshhorn Museum, Washington, D.C. The Conditions of Being Art: Pat Hearn Gallery & American Fine Arts, Co. (1983-2004), Hessel Museum of Art, Annandale-on-Hudson, New York IT’S PERSONAL, Edward Ressle, New York 2017 They say, where there’s smoke, there’s fire, Bern, Kunsthalle Bern, in collaboration with Kunsthaus Glarus, Glarus, Switzerland Répliques: L’Original à L’Épreuve de L’Art: Autour de la Collection d’Olivier Mosset, Musée Des BeauX-Arts, La ChauX-de-Fonds, Switzerland Fictional Artists, Musée d’Art Moderne et Contemporain (MAMCO), Geneva, Switzerland 2016 La Collection Thea Westreich et Ethan Wagner, Centre George Pompidou, Paris 2015 Collected by Thea Westreich Wagner and Ethan Wagner The Whitney Museum of American Art, New York; traveled to Centre George Pompidou 2014 Beg Borrow and Steal, Rubell Family Collection, Miami, Florida 2013 DANNY McDONALD as MINDY VALE in MINDY VALE GOES TO ENGLAND to uncover the 980 MADISON AVENUE NEW YORK, NY 10075 -
Ellen George
ELLEN GEORGE EDUCATION National College of Art and Design, Dublin, Ireland B.A., Austin College, Sherman, TX SOLO EXHIBITIONS 2019 I begin with a thin line, PDX CONTEMPORARY ART, Portland, OR 2018 Repose, collaborative exhibition with Jerry Mayer, Nine Gallery, Portland, OR 2017 April, Conduit Gallery, Dallas, TX 2016 May, PDX CONTEMPORARY ART, Portland, OR 2015 FORMATION, collaborative exhibition with Jerry Mayer, Nine Gallery, Portland, OR 2012 Prairie, Ida Green Gallery, Austin College, Sherman, TX Under Stories, Museum of East Texas, Lufkin, TX 2011 Sensing Place, PDX CONTEMPORARY ART, Portland, OR Space, collaborative exhibition with Jerry Mayer, Nine Gallery, Portland, OR 2010 Prairie Notes, Conduit Gallery, Dallas, TX Drawing Room, collaborative exhibition with Jerry Mayer, Nine Gallery, Portland, OR Lightly, collaborative exhibition with Jerry Mayer, Nine Gallery, Portland, OR 2009 Nose Touches Twig, PDX CONTEMPORARY ART, Portland, OR 2008 Weather, PDX Window Project, PDX CONTEMPORARY ART, Portland, OR Things Turning, a collaboration with Jerry Mayer, Nine Gallery, Portland, OR 2007 Undergrowth, Joan Wich Gallery, Houston, TX 2006 Speciation, PDX CONTEMPORARY ART, Portland, OR 2005 Archer Gallery, Clark College, Vancouver, WA Thin Air, Joan Wich Gallery, Houston, TX 2004 Meadow, PDX CONTEMPORARY ART, Portland, OR Out of Doors, Conduit Gallery, Dallas, TX 2003 Mum, Interstate Firehouse Cultural Center, Portland, OR Variation, Joan Wich Gallery, Houston, TX 2002 Trail and Other Things, Commencement Gallery, City of Tacoma Art Commission, Tacoma, WA Arrangements, PDX CONTEMPORARY ART, Portland, OR 2001 Jubilee, PDX Window Project, Portland, OR Small Sculpture: Ellen George, Conduit Gallery, Dallas TX Ellen George, Visual Art Center Gallery, Mount Hood Community College, Gresham, Ellen George, Joan Wich Gallery, Houston, TX 2000 Post Mark: Objects by Ellen George, Museum of East Texas, Lufkin, TX Special Handling, Lower Columbia College Art Gallery, Longview, WA 1999 Little Tin Boxes, Commencement Gallery 9th St. -
Assessment and Treatment of Patients with Suicidal Behaviors
PRACTICE GUIDELINE FOR THE Assessment and Treatment of Patients With Suicidal Behaviors WORK GROUP ON SUICIDAL BEHAVIORS Douglas G. Jacobs, M.D., Chair Ross J. Baldessarini, M.D. Yeates Conwell, M.D. Jan A. Fawcett, M.D. Leslie Horton, M.D., Ph.D. Herbert Meltzer, M.D. Cynthia R. Pfeffer, M.D. Robert I. Simon, M.D. Originally published in November 2003. This guideline is more than 5 years old and has not yet been updated to ensure that it reflects current knowledge and practice. In accordance with national standards, including those of the Agency for Healthcare Research and Quality’s National Guideline Clearinghouse (http://www.guideline.gov/), this guideline can no longer be assumed to be current. 1 AMERICAN PSYCHIATRIC ASSOCIATION STEERING COMMITTEE ON PRACTICE GUIDELINES John S. McIntyre, M.D., Chair Sara C. Charles, M.D., Vice-Chair Daniel J. Anzia, M.D. Ian A. Cook, M.D. Molly T. Finnerty, M.D. Bradley R. Johnson, M.D. James E. Nininger, M.D. Paul Summergrad, M.D. Sherwyn M. Woods, M.D., Ph.D. Joel Yager, M.D. AREA AND COMPONENT LIAISONS Robert Pyles, M.D. (Area I) C. Deborah Cross, M.D. (Area II) Roger Peele, M.D. (Area III) Daniel J. Anzia, M.D. (Area IV) John P. D. Shemo, M.D. (Area V) Lawrence Lurie, M.D. (Area VI) R. Dale Walker, M.D. (Area VII) Mary Ann Barnovitz, M.D. Sheila Hafter Gray, M.D. Sunil Saxena, M.D. Tina Tonnu, M.D. STAFF Robert Kunkle, M.A., Senior Program Manager Amy B. Albert, B.A., Assistant Project Manager Laura J. -
Laura Fritz Laurafritz.Net | 503-235-2811 | [email protected]
Laura Fritz laurafritz.net | 503-235-2811 | [email protected] Select Exhibitions (* = solo) *Installation, Joshua Tree, CA, date to be determined, 2015 Sum of the Parts, Jeffrey Thomas, Portland, OR, January 2015 Transparencies, curated by Laura Burkhalter, Des Moines Art Center, Des Moines, IA, February-May 2013 Group show with Fred Wilson, Monir Farmanfarmaian and Judith Schaechter among others *Entorus, Maddox Building, Portland, OR, April 2012 Light Structures, Curated by Laura Hughes, FalseFront Gallery, Portland, OR, April 2012 *Convectis, light and space installation for Plazm 20th Anniversary Party, Portland, OR, August 2011 Intrus, curated by Modou Dieng with work by Michael Zheng and Kim Donaldson, Worksound, Portland, OR, September 2010 *Evident, Couture series stipend show, New American Art Union, Portland, OR, January-February 2009 Volume, Worksound, Portland, OR, September 2008 *Interspace, Video Installation, Quality Pictures Contemporary Art, Portland, OR, March-April 2008 Aqua Hotel Miami, Quality Pictures Contemporary Art, Miami, FL, December 2007 *Caseworks 13, Curated by Stephanie Snyder, Reed College Case Works, Portland, OR, November 2007-February 2008 Retinal Reverb, a part of Portland Experimental Film Festival, Audio Cinema, Portland, OR, April 2007 curated by Mack McFarland & Stephen Slappe Grey Area, curated by TJ Norris, Guestroom Gallery, Portland, OR, June 2006 Fresh Trouble, curated by Jeff Jahn, Portland, OR, Sept 24- Oct 9 2005 *Perspect, SOIL Gallery, Seattle, WA, 2005 Symbiont/Synthetic, Core Sample, -
CLAUDIA HART B
CLAUDIA HART b. 1955, New York, NY Lives and works in New York, NY Claudia Hart emerged as part of a generation of ‘90s intermedia artists examining issues of identity and representation. Since the late ‘90s when she began working with 3D animation, Hart embraced these same concepts, but now focusing on the impact of computing and simulation technologies. She was an early adopter of virtual imaging, using 3D animation to make media installations and projections, and later as they were invented, other forms of VR, AR and objects produced by computer-driven production machines. At the School of the Art Institute of Chicago, where she is a professor, she developed a pedagogic program based on her practice - Experimental 3D - the first dedicated solely to teaching simulations technologies in an art-school context. Hart’s works are widely exhibited and collected by galleries and museums including the collections of the Whitney Museum of American Art, the Museum of Modern Art, and the Metropolitan Museum. Her work has been shown at the New Museum, produced at the Eyebeam Center for Art + Technology, where she was an honorary fellow in 2013-14, at Pioneer Works, NY, where she a technology resident in 2018, and at the Center for New Music and Audio Technology, UC California, Berkeley where she is currently a Fellow. She is represented by bitforms gallery. bitforms gallery | 131 Allen Street New York, NY 10002 | t 212 366 6939 | www.bitforms.art EDUCATION 2001 New York University, Center for Advanced Digital Applications, Certificate in Computer Animation 1984 Columbia University Graduate School of Architecture, M.S. -
Rae Bio 2017 *
RAE MAHAFFEY 2134 NW Hoyt Street Portland, OR 97210 503-295-6666, 971-212-1836, [email protected] COMMISSIONS & RELATED EXPERIENCE 2017 PORTLAND STATE UNIVERSITY, Lincoln Performance Hall, Portland, Oregon 2016 GOOD SAMARITAN HOSPITAL, Reception Desk, Portland, Oregon 2013 COMMISSION, Lake Union Window Project, Seattle, Washington 2010 PUBLIC ART COMMISSION, El Paso International Airport, Texas 2009 PUBLIC ART COMMISSION, Gray Middle School, Tacoma, Washington 2008 PACIFIC CENTER, Lobby, Harsch Investments, Portland, Oregon 2008 PUBLIC ART COMMISSION, Columbia Basin College, Pasco, Washington 2006 COMMISSION, Portland Art Museum, Patron Print, Gilkey Center 2004 PUBLIC ART COMMISSION, Tigard Public Library, Tigard, Oregon 2004 PUBLIC ART COMMISSION, Fire Station #11, Aurora, Colorado 2003 COMMISSION, Americans for the Arts, Selina Robert Ottum Award Design 2003 FINALIST, Denver International Airport Public Art Program, Denver, Colorado 2002 COMMISSION, Governor’s Award, Oregon Arts Commission 2001 PUBLIC ART COMMISSION, Oregon Convention Center 2001 & 2002 VISITING ARTIST, Pratt Fine Art Center, Seattle, Washington 2000 & 2001 VISITING ARTIST, Pilchuck Glass School, Stanwood, Washington SOLO EXHIBITIONS 2015 SO-AND-SO, Laura Russo Gallery, Portland, Oregon 2103 RESEARCHES, Fairbanks Gallery at Oregon State University, Corvallis, Oregon 2012 Laura Russo Gallery, Portland, Oregon 2010 Laura Russo Gallery, Portland, Oregon 2008 Laura Russo Gallery, Portland, Oregon 2006 OPEN SPACE, Palette Contemporary Art, Albuquerque, New Mexico Laura