DOCSLIB.ORG

CARRIE IVERSON [email protected] Cell 949.402.1139

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CARRIE IVERSON Iverson.Carrie@Gmail.Com Cell 949.402.1139 CARRIE IVERSON www.carrieiversonstudio.com [email protected] cell 949.402.1139 SELECTED COLLECTIONS The Art Institute of Chicago Brooklyn Museum Bullseye Glass Co., Portland, Oregon The Columbus Museum, Georgia Illinois State Museum, Springfield Joan Flasch Artists’ Book Collection, The School of the Art Institute of Chicago KALA Art Institute, Berkeley, California Mary and Leigh Block Museum of Art, Northwestern University, Evanston, Illinois Mississippi Museum of Art, Jackson Montgomery Museum of Fine Arts, Alabama Museum of Contemporary Art, Artists’ Books Collection, Chicago Museum of Modern Art, Artists’ Books Collection, New York Pilchuck Glass School, Stanwood, Washington Seto City Art Museum, Seto, Japan University of Mississippi, Southern Graphics Council Archives, Oxford Virginia Museum of Fine Arts, Richmond Yale University Art Gallery, New Haven, Connecticut EDUCATION MFA School of The Art Institute of Chicago, Chicago, Illinois, 1998 BA Yale University, New Haven, Connecticut, 1994 (Honors in Art) SELECTED SOLO EXHIBITS BREAKDOWN, de Young Museum, San Francisco, California, 2017 (scheduled) Dissonance, Gallery One One, Cincinnati, Ohio, 2012 Cusp, Cascade Gallery, Portland, Oregon, 2011 Correspondence, Bullseye Gallery, Portland, Oregon, 2011 undercurrent, Portland Building Installation Space, Portland, Oregon, 2009 transient, Mosnart, Chicago, 2009 Survey, College of Lake County, Grayslake, Illinois, 2008 Catalyst, Bullseye Gallery, Portland, Oregon, 2008 CATALYST, FLATFILEgalleries, Chicago, 2007 Survey, PDX Contemporary Art, Portland, Oregon, 2007 Interference, Phyllis Stigliano Gallery, Brooklyn, 2006 WAKE, Brooklyn Public Library, Brooklyn, New York, 2006 WAKE, Phyllis Stigliano Gallery, Brooklyn, New York, 2006 SELECTED GROUP EXHIBITS 2016 8th International Printmaking Biennial, Douro, Portugal 2015 2nd Global Print 2015, Alijo, Portugal Experiments & Variations, Poplar Gallery, Oakland, California Theresa and Harry Crook's Art: State of the Estate, Gallery 72, Omaha, Nebraska 2014 Paraphrase, Featured SGCC Exhibit, Cannery Gallery, San Francisco, California Unexpected Imagery, Gallery R, Rochester, New York Artists-in-Residence, Seto City Art Museum, Seto, Japan Groundwork, Pullman Factory Site, Chicago, Illinois (site specific installation and iron pour) Rolled, Stoned, & Inked: Chicago Printmakers Collaborative, Expo 72, Chicago, Illinois 25 Years of the Chicago Printmakers Collaborative, Prairie State College, Chicago Heights, Illinois 2013 Threshold, Hoffman Gallery, OCAC, Portland, Oregon Disguise, Indiana University Print Archives, Bloomington, Indiana 2012 Intangible, North Lands Creative Glass, Lybster, Scotland Beyond Tradition, Caithness Horizons, Thurso, Scotland Artists’ Annual, KALA Art Institute, Berkeley, California 2011 San Francisco Fine Art Fair, Bullseye Gallery, San Francisco, California 2010 Artists-in-Residence Exhibition, Glenfiddich Gallery, Dufftown, Scotland Invisible Cities, Bullseye Gallery, Portland, Oregon Incised, Bitten, and Gouged: 20 Years of Printmaking, Ukrainian Institute of Modern Art, Chicago 20/20, Workshop Print Gallery, Chicago, Illinois Art Sante Fe (Bullseye Gallery, Portland, Oregon), New Mexico 2009 Correlations, Glasmuseum Hentrich, Düsseldorf, Germany A Book About Death, Emily Harvey Gallery, New York, New York Ink/Paper/Press, FLATFILEgalleries, Chicago, Illinois 2008 SOFA Chicago, Bullseye Gallery, Navy Pier, Chicago 2008 SOFA Preview, Bullseye Gallery, Portland, Oregon The Art of Democracy, Workshop Print Gallery, Chicago, Illinois 2007 Bridge Art Fair, FLATFILEgalleries, Chicago, Illinois Beyond Boundaries, H.F. Johnson Gallery of Art, Carthage College, Wisconsin Transformation, Rochester Contemporary Art Center, New York, 2007 2006 Black & White, FLATFILEgalleries, Chicago, Illinois, 2006 Hunt & Gather, Evanston Art Center, Evanston, Illinois, 2006 Transformation, Southern Graphics Council, Madison, Wisconsin, 2006 SELECTED PRINT PORTFOLIOS Transformation, portfolio of eighteen artists, created for the Southern Graphics Council Conference as a thematic portfolio pairing artists with scientists, Madison, WI. 2006 Carrie Iverson, pg. 2 On The Map, portfolio of sixteen artists, organized by the Chicago Printmakers Collaborative in conjunction with Chicago Artists’ Month, Chicago, IL. 2003 Common Culture, portfolio of fifteen artists, created for the Southern Graphics Council Conference as a thematic portfolio addressing US southern stereotypes, New Orleans, LA. 2002 VISITING ARTIST/ LECTURER 2016 Visiting Artist, Printmaking and Glass Departments, California College of the Arts, Oakland 2013 Visiting Artist, Printmaking Department, Taiwan National University, Taipei Artist’s Talk, Seto City Museum, Seto, Japan 2012 Visiting Artist, Glass Department, Rochester Institute of Technology, New York Visiting Artist, Printmaking Department, University of Indiana (Bloomington) Visiting Artist, Glass Department, University of Sunderland, England 2011 Artist's Talk, Bullseye Resource Center, Portland, Oregon Visiting Artist, Oregon College of Art and Craft, Portland, Oregon 2010 Photosynthesis, Panel Discussion at Bullseye Gallery, Portland, Oregon Artist's Talk, Bullseye Resource Center, Portland, Oregon Visiting Artist, Alberta College of Art and Design, Alberta, Canada 2009 Visiting Artist, Washington State University, Pullman, Washington TEACHING EXPERIENCE 2016 Poetics of Phenomena, Pilchuck Glass School, Stanwood, Washington Introductory Screen Printing, IV Designs, Oakland, California Images in Glass, IV Designs, Oakland, California Monotype, Ox-Bow School of Art and Artists’ Residency, Saugatuck, Michigan 2015 Images in Glass, Blue Dog Glass, Melbourne, Australia The Glass Pastiche, Pittsburgh Glass Center, Pennsylvania Images in Glass, IV Designs, Oakland, California Color, IV Designs, Oakland, California The Glass Pastiche, IV Designs, Oakland, California Image Transfers, IV Designs, Oakland, California 2014 Shifting Perspectives, North Lands Creative Glass, Lybster, Scotland From Research to Refinement, Pilchuck Glass School, Stanwood, Washington Images in Glass, IV Designs, Oakland, California Image Transfers, IV Designs, Oakland, California 2013 Xerox Gum Transfers, Bullseye Resource Center, Portland, Oregon Xerox Gum Transfers, Bullseye Resource Center, Emeryville, California Xerox Gum Transfers, Printmaking Department, Taiwan National University, Taipei Xerox Gum Transfers, Seto Exchange Program, Seto, Japan Carrie Iverson, pg. 3 2012 Images in Glass, Rochester Institute of Technology, New York Images in Glass, Bullseye Resource Center, Portland, Oregon Images in Glass, Bullseye Resource Center, Emeryville, California Images in Glass, Creative Glass, Zurich, Switzerland Images in Glass, Creative Glass, Kent, England 2011 Images in Glass, Bullseye Resource Center, Portland, Oregon Images in Glass, Hot Glass Houston, Texas Images in Glass, Glass Forum, Averoy, Norway 2010 Images in Glass, Bullseye Resource Center, Portland, Oregon 2009 Images in Glass, Bullseye Resource Center, Portland, Oregon 1997 Essay Writing, School of the Art Institute of Chicago, Chicago, Illlinois STUDIO MANAGEMENT Co-Owner, IV Designs, Oakland, California: 2014-present • Set up and maintain public teaching and fabrication studio • Design and develop classes, order all necessary supplies • Design and develop website and social media presence • Manage studio budget and maintain Microsoft Excel spreadsheet of receipts for taxes Studio Manager, John Himmelfarb Studio, Chicago, Illinois: 2004-2007 • Set up and maintained private print shop, assisting in plate production and printing of both etching and lithography editions. • Designed and developed publicity materials from conception to pre-press. These ranged from magazine ads (Art on Paper), to exhibition postcards, to research for a catalog raisonne (Hudson Hills Press). • Researched and developed public art proposals • Oversaw two public art projects from proposal to completion, ensuring the work met all site requirements and codes: An installation of drawings on library card catalog cards (Bucktown Wicker Park Library, Chicago Illinois) and an installation of two site-specific paintings (Delta Airline terminal, Logan Airport, Boston Massachusetts). • Maintained Filemaker inventory of artwork and Microsoft Excel spreadsheet of receipts for taxes. • Built crates, packed and shipped artwork to galleries and museums Studio Manager, Chicago Printmakers Collaborative, Chicago, Illinois: 2001-2004 • Conducted studio orientations and portfolio reviews • Ensured members followed safety protocols for equipment and materials • Set up and maintained acid room for etching and rosin box for aquatint • Ensured instructors had necessary supplies for workshops • Designed newspaper ads, promotional flyers, website, class schedules and studio signage • Proposed and organized workshop gallery exhibitions and programming • Oversaw studio interns Carrie Iverson, pg. 4 RESIDENCIES 2017 Artist-in-residence, DeYoung Museum, San Francisco, California (scheduled) 2015 Artist-in-residence, KALA Art Institute, Berkeley, California 2013 Artist-in-residence, Ceramic and Glass Art Exchange Program, Seto, Japan 2013 Hauberg Fellowship, Pilchuck Glass School, Stanwood, Washington 2012 Artist-in-residence, North Lands Creative Glass, Lybster, Scotland 2012 Artist-in-residence, KALA Art Institute, Berkeley, California 2010 Glenfiddich Artist-in-residence, Dufftown, Scotland 2010 Visiting artist, Alberta College of Art and Design, Alberta, Canada 2008
Load more

Recommended publications
  • PAGE 1 – SECOND AMENDED COMPLAINT Case 3:20-Cv-01035-SI Document 53 Filed 07/17/20 Page 2 of 52
    Case 3:20-cv-01035-SI Document 53 Filed 07/17/20 Page 1 of 52 Matthew Borden, Admitted pro hac vice [email protected] J. Noah Hagey, Admitted pro hac vice [email protected] Athul K. Acharya, OSB No. 152436 [email protected] Gunnar K. Martz, Admitted pro hac vice [email protected] BRAUNHAGEY & BORDEN LLP 351 California Street, Tenth Floor San Francisco, CA 94104 Telephone: (415) 599-0210 Kelly K. Simon, OSB No. 154213 [email protected] AMERICAN CIVIL LIBERTIES UNION FOUNDATION OF OREGON P.O. Box 40585 Portland, OR 97240 Telephone: (503) 227-6928 Attorneys for Plaintiffs UNITED STATES DISTRICT COURT DISTRICT OF OREGON PORTLAND DIVISION INDEX NEWSPAPERS LLC, a Washington Case No. 3:20-cv-1035-SI limited-liability company, dba PORTLAND MERCURY; DOUG BROWN; BRIAN CONLEY; SAM GEHRKE; MATHIEU CLASS ACTION ALLEGATION LEWIS-ROLLAND; KAT MAHONEY; SECOND AMENDED COMPLAINT SERGIO OLMOS; JOHN RUDOFF; ALEX MILAN TRACY; TUCK DEMAND FOR JURY TRIAL WOODSTOCK; JUSTIN YAU; and those similarly situated, Plaintiffs, v. CITY OF PORTLAND, a municipal corporation; JOHN DOES 1-60, officers of Portland Police Bureau and other agencies working in concert; U.S. DEPARTMENT OF HOMELAND SECURITY; and U.S. MARSHALS SERVICE, Defendants. PAGE 1 – SECOND AMENDED COMPLAINT Case 3:20-cv-01035-SI Document 53 Filed 07/17/20 Page 2 of 52 Plaintiffs Index Newspapers LLC (“Portland Mercury”), Doug Brown, Brian Conley, Sam Gehrke, Mathieu Lewis-Rolland, Kat Mahoney, Sergio Olmos, John Rudoff, Alex Milan Tracy, Tuck Woodstock, and Justin Yau, on behalf of themselves and those similarly situated, allege as follows: INTRODUCTION 1.
    [Show full text]
  • Issue May 2017 PORTLAND POLICE KILL BLACK TEEN with SHOT to HEAD
    issue #71 may www. portlandcopwatch. Protests met with violence org 2017 or hugs, depending—p. 4 PORTLAND POLICE KILL BLACK TEEN FIRST MISCONDUCT CASE AT COUNCIL IN 14 YEARS WITH SHOT TO HEAD; WOUND WHITE MAN AS REVIEW GROUP HEARS LAST 2 APPEALS IN MENTAL HEALTH CRISIS ON SAME DAY Cop with Neo-Nazi Past Has Oversight Director Investigated; Former Chief Escapes Prosecution with Crowd Control and Deadly Force Policies Examined Compromise; Updates on 2016 Shootings hough the Citizen Review n February 9, 2017 Portland Police were involved in two Committee (CRC) was holding shooting incidents— as many as in all of 2016. The Ttwo meetings per month through Oshootings, coming hours apart, included many similarities most of 2016 to catch up on hearing and a striking difference: Quanice Hayes, a 17 year old African appeals of police misconduct cases, American young man, was shot in the head and died; Don they only held five meetings in the first Perkins, a 56 year old white man in mental health crisis who four months of 2017 as their backlog goaded police to kill him, cleared out. In addition, CRC brought its first appeal to City lived. Separate grand juries Council since 2003— the case of Matt Klug, who had a Taser found police committed no fired at him six times (PPRs #67, 68, 69 and 70). Council didn’t crime in either case, even agree with CRC— but also didn’t agree with the Bureau. though both police narratives Meanwhile, Director Constantin Severe of the “Independent” April 2017 allege the suspects were Police Review (IPR) was investigated based on a complaint by reaching around, but not former Neo-Nazi and current PPB Captain Mark Kruger.
    [Show full text]
  • “It's a Really Exciting Time to Be in Portland Because of Its Fresh Voices and Its Fresh Ideas. We're at the Cusp of Somet
    Portland, Oregon Photograph courtesy of Portland Oregon Visitors Association. ortland, Oregon, is a city full of artistic fied Portland’s strong sense of community, P paradoxes. Proud, feisty, creative and attracting 200 local artists and 500 volunteers. “It’s a really fiercely independent, it manages to Yet despite its from-the-ground-up success, flourish despite a floundering economy. Located PICA’s institutionalization also represents the exciting time to in a state with the nation’s highest unemploy- other, more difficult side of doing arts in ment rate, Portland’s arts organizations, both Portland. Tough times forced it to restructure: In be in Portland large and small, have been forced to adjust to 2003 it closed its gallery, laid off its visual-arts because of its falling ticket sales and diminishing budgets. Yet curator and stopped producing its regular per- the city is now attracting a huge influx of young forming-arts series. All resources have since been fresh voices and artists who are redefining its landscape. funneled into the TBA Festival, which in its first Consider the Portland Institute for year failed to break even. Even so, as its funding its fresh ideas. Contemporary Art (PICA), which was featured in base grew for the 2004 festival, PICA was opti- We’re at the the previous Reporting the Arts study. Founded mistic about its survival. in 1995 as an itinerant arts program, in just a few Historically, however, Portland does not have cusp of years it grew into a full-fledged organization, a strong tradition of philanthropy. The town does partly by securing its own space to house its per- not house a large number of corporate headquar- something new.” forming-arts season, art gallery and educational ters, and the recent economic downturn has only Byron Beck and residency programs.
    [Show full text]
  • 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,
    [Show full text]
  • The Oregonian
    The Oregonian Yelling, Venting Mark Listening Session Over Portland Police Texts with Patriot Prayer By Maxine Bernstein February 21, 2019 UPDATES 8:10 p.m.: The meeting wraps up. The bottom line: More yelling and venting than listening or suggestions for solutions. Full coverage coming up. Some parting words: Police Chief Danielle Outlaw quoted as saying: “I’m going to be honest with you, we didn’t have to hold this." One speaker quoted as saying: “Police don’t need training to stop identifying white supremacy, they need to stop identifying with white supremacy.” A crowd of about 50 people yelling: “Fascists go home.” 7:50 p.m.: Some reports are coming over Twitter that Patriot Prayer supporters and their anti- fascist opponents were facing off in the parking lot of the Maranatha Church. Later reports indicate Haley Adams is escorted off the church property. 7:40 p.m.: The session is continuing after it appeared Patriot Prayer supporter Haley Adams got escorted out. People at the meeting reported that Adams strode up to the front of the church, members of the crowd began chanting, “Nazi scum.” Police Chief Danielle Outlaw asked Adams to leave. It appeared the meeting might end but Outlaw said she was staying. 7:30 p.m.: The Rev. LeRoy Haynes: ‘We continue to have breakdown after breakdown in trust with Portland police ... there cannot be a double standard" between policing of white residents and black residents. 7:15 p.m.: The session continues with two-minute speaking slots. One woman accuses police of taking the side of “right-wingers” against residents and gives kudos to anti-fascist demonstrators for being “more disciplined than police.” Another speaker asks the city to form a task force to investigate hate crimes.
    [Show full text]
  • Uneven Development of the Sustainable City: Shifting Capital in Portland, Oregon
    Portland State University PDXScholar Urban Studies and Planning Faculty Nohad A. Toulan School of Urban Studies and Publications and Presentations Planning 2015 Uneven Development of the Sustainable City: Shifting Capital in Portland, Oregon Erin Goodling Portland State University, [email protected] Jamaal Green Portland State University, [email protected] Nathan McClintock Portland State University, [email protected] Follow this and additional works at: https://pdxscholar.library.pdx.edu/usp_fac Part of the Urban Studies Commons, and the Urban Studies and Planning Commons Let us know how access to this document benefits ou.y Citation Details Goodling, Erin; Green, Jamaal; and McClintock, Nathan, "Uneven Development of the Sustainable City: Shifting Capital in Portland, Oregon" (2015). Urban Studies and Planning Faculty Publications and Presentations. 107. https://pdxscholar.library.pdx.edu/usp_fac/107 This Post-Print is brought to you for free and open access. It has been accepted for inclusion in Urban Studies and Planning Faculty Publications and Presentations by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Uneven Development of the Sustainable City: Shifting Capital in Portland, Oregon Erin Goodling; Jamaal Green; Nathan McClintock* Nohad A. Toulan School of Urban Studies and Planning Portland State University Portland, Oregon, U.S.A. * - corresponding author [email protected] [email protected] [email protected] This is a post-print version of the following article: Goodling, Erin, Jamaal Green, & Nathan McClintock (2015) Uneven Development of the Sustainable City: Shifting Capital in Portland, Oregon. Urban Geography doi:10.1080/02723638.2015.1010791.
    [Show full text]
  • Pleading Wizard
    2/18/2020 3:44 PM 19CR53042 IN THE CIRCUIT COURT FOR THE STATE OF OREGON FOR THE COUNTY OF MULTNOMAH STATE OF OREGON, No. 19CR53042 PLAINTIFF, vs. JOSEPH GIBSON’S MOTION TO CHANGE VENUE JOSEPH GIBSON, DEFENDANT. 1 INTRODUCTION 2 COMES NOW Joey Gibson, the defendant, by and through the Angus Lee Law Firm, 3 PLLC, and moves this court for a change of venue. 4 A uniform and organized campaign of propaganda from Portland leaders, news media, and 5 political opponents has demonized Mr. Gibson, as a violent, white supremacist, Nazi. Political 6 leaders in Portland, sensing the public mood, have repeatedly exacerbated and exploited this 7 propaganda campaign, to the point of issuing formal resolutions condemning him. They publicly 8 declared their support for a business taking legal action against him, and even publicly attacked 9 counsel for Mr. Gibson in that parallel civil case. What is worse, Mayor Ted Wheeler, outspoken 10 in his personal criticism of Mr. Gibson, is actually the highest ranking police official in the City 11 of Portland. JOSEPH GIBSON’S MOTION TO CHANGE ANGUS LEE LAW FIRM, PLLC VENUE 9105A NE HWY 99, STE 200 1 No. 19CR53042 Vancouver, WA 98665 Tuesday, February 18, 2020 (P) 360-635-6464 (F) 888-509-8268 1 Every leading Portland newspaper reported not just the filing of that lawsuit, but there were 2 also further stories concerning the amendment of plaintiffs’ complaint, and the engagement of 3 counsel for Mr. Gibson in that case. 4 If ever there was a case where a change of venue was appropriate, this is it.
    [Show full text]
  • Time, a Fair Hustler Created by Hand2mouth Theatre a New Performance Inspired by the 25Th Anniversary of the Filming of Gus Van Sant’S “My Own Private Idaho”
    Time, A Fair Hustler Created by Hand2Mouth Theatre A new performance inspired by the 25th Anniversary of the filming of Gus Van Sant’s “My Own Private Idaho” Produced by Hand2Mouth Theatre with Artists Repertory Theatre Made possible with generous permission of the filmmaker Gus Van Sant and New Line Cinema / Warner Bros. Contact: Jonathan Walters, Artistic Director Phone: 503-754-5603 Email: [email protected] www.hand2mouththeatre.org Hand2Mouth are great experimenters with theatrical form. - Gus Vant Sant Hand2Mouth’s reinterpretation [of My Own Private Idaho] is dirty, intimate and splendid… Jonathan Walters’ Hand2Mouth production achieves something rare on any stage: a genre-hybrid performance where the characters writhe together in jazzy choreography, the original score undulates appropriately like in a well- edited film, and lighting tricks like an illuminating Pepsi machine make the set resemble a live art installation. - Willamette Week ABOUT My Own Private Idaho 25 years ago Gus Van Sant filmed “My Own Private Idaho” in his home town of Portland, Oregon. Van Sant’s screenplay adapted Shakespeare’s Henry IV plays as combined by Orson Welles (focusing on the Prince Hal + Falstaff story) but set the film among homeless youth living on the dirty streets and empty back roads of the Pacific Northwest. Starring Keanu Reeves and River Phoenix as two street hustlers, the film tells the story of best friends Mike and Scott, one rich and one absolutely destitute, who grow to love each other while searching for their families in a searing tale of sex, friendship, freedom and betrayal. ABOUT Time, A Fair Hustler Working with access to Gus Van Sant, several of the original film actors and crew, former sex workers and underground artists who were part of the original making and milieu that the film depicts, Hand2Mouth, Portland’s most acclaimed experimental theatre ensemble, has re-imagined this film for the stage.
    [Show full text]
  • Eric Stotik Fugue Final.Edits to Bridgetown
    eric stotik:fugue Ronna and Eric Hoffman Gallery of Contemporary Art Lewis & Clark College September 8 – December 13, 2015 eric stotik:fugue September 8 – December 13, 2015 Ronna and Eric Hoffman Gallery of Contemporary Art Lewis & Clark College Ronna and Eric Hoffman Gallery of Contemporary Art Lewis & Clark College September 8 – December 13, 2015 3 Some Observations: Traveling in the Land of Eric Stotik Entering the visual world of Eric Stotik is a bit like visiting a Stotik’s was an exceedingly unconventional childhood, dense garden in late summer. Invariably, while strolling among probably as far-removed from the mainstream American the prolific trees and flowers, one unsuspectingly walks into Saturday-morning-cartoon kid culture of the ’60s and ’70s the gossamer silk architecture of an orb-weaving spider. It as it was possible to be. He is the second eldest of four children, is always a shock, always disagreeable… and it is generally all born, and mostly reared, in rural Papua New Guinea. His par- accompanied by the sensation that spider thread against skin ents, Esther and Carl, were Lutheran missionaries in the Enga is just a whisper, an inkling, of the arachnid’s unknowable Province, a rugged and mountainous region.2 Stotik’s father world. That experience—of having drawn near to another arrived there in 1950; he oversaw a community of lay preachers, reality without being fully invited into it—is a common reac- taught school, and managed trade stores. In 1958, Esther, an tion to Eric Stotik’s work. unmarried nurse, arrived in the country. They married two years Stotik is an artist who resolutely defies classification: His later and commenced to raise a family in their adopted home.
    [Show full text]
  • Fiscal Year 2020 Report
    September 2020 Homelessness Research & Action Collaborative Fiscal Year 2020 Report A report by: The Portland State University Homelessness Research & Action Collaborative Copyright Portland State University Homelessness Research & Action Collaborative PSU Homelessness Research & Action Collaborative Fiscal Year 2020 Report Table of Contents Introduction & Summary ....................................................................................................................4 Team .....................................................................................................................................................4 Background ..........................................................................................................................................4 Current Research ...............................................................................................................................7 Publications ..........................................................................................................................................7 HRAC Faculty Awards ...........................................................................................................................7 Reducing Homelessness at PSU ..........................................................................................................8 Changing the Narrative .........................................................................................................................8 Policy and Program Evaluation .............................................................................................................8
    [Show full text]