Waterstone Gallery is turning 20! That means twenty years of dedication to artmaking, twenty years of sharing our passion for art with the Portland community, twenty years of fostering that passion in the next generation of young artists at schools from kindergarten through university, and twenty years of combining the diverse visions of 16 individual artists into one harmonious whole.

Waterstone is proud to be a cooperative gallery owned and operated by its artist-members. In our society, too often people confuse the Art of Compromise with a lack of conviction or purpose. Nothing could be further from the truth.  It takes a tremendous amount of conviction to work together towards a common goal. It also takes the skills of listening, talking clearly to articulate your point, and accepting the good faith of someone with an opposing point of view. The creativity needed to bring about consensus in a large group is every bit as powerful as the creativity it takes to bring a work of art into being. A group of people working together IS a work of art.
Balance is the key to the success of a cooperative gallery.  The individual needs or wishes of any one artist-member are balanced by the needs and wishes of the group as a whole. In Portland three cooperative galleries have flourished for decades based on the strength of their ability to understand this basic principle of balance: Blackfish, Gallery 114 and Waterstone. Each one has a slightly different structure, but they all offer the support and camaraderie of artists working together to promote each other’s work and to advance the presence of art in our community.

In many ways a cooperative gallery operates very much like a traditional commercial gallery. They both represent artists, emerging or established, who are working to grow their careers. A gallery’s primary jobs are to promote its artists by supporting their visions, and exhibiting and selling their work. Both types of galleries recognize the importance of building a knowledgeable and supportive environment for the arts in the community and are committed to working with other arts organizations to make that a reality. And finally, they both share a love of art and an unwavering belief that art makes us better as human beings.

At Waterstone, all of our business and aesthetic decisions are made by the group of artist-owners through consensus, usually by majority. Since we have no paid employees, the artists also share equally in the workload. By its very nature, Waterstone is a resource for the community. Because we are an artist-run gallery, our visitors know that there will always be an artist working at the gallery when they come in.

Fledgling artists and art students take advantage of this, coming in to discuss techniques and technical questions. Local high schools bring their classes by on First Thursday and on many occasions one of our artists follows up with a visit to the school, hardly surprising since many of our artists are educators. Five have taught college classes in our community, and three of those five have taught all levels from kindergarten through post-secondary. In addition, most members have taught community workshops and classes. One of our members co-founded an alternative elementary school!

Locally, Waterstone gallery members co-founded Art in the Pearl, the nationally recognized fine arts and craft fair, which takes place in the North Park Blocks every Labor Day weekend. In 1997, five of our artists joined with 7 artists from the Oregon Potters Association and 3 artists from other guilds to start this wonderful art event that has become a much-loved staple for the Portland community. Waterstone continues to be involved with Art in the Pearl to this day, contributing both time and sponsorship.

Waterstone Gallery offers its clients a wide range of artistic expression, from representational to non-objective. We work in a variety of media including sculpture, metalwork, textile, mixed media, oil, acrylic, watercolor, drawing, collage, encaustic and printmaking. The artwork of Waterstone artists features prominently in private and corporate collections regionally, nationally and internationally. Our work is included in public collections and museum collections on every continent except Antarctica.

Our gallery opened its door in 1992 as Artisans Cooperative Gallery in the Artisan Building at the corner of Everett and Eighth. The building was filled with artists’ studios, with a little café and our gallery anchoring the ground floor. Eventually the Artisan Building was sold for condos and in 1999 we moved to our current location at 424 NW 12th Avenue.
To begin our 20^th anniversary celebration we have invited 3 of our founding members, Stan and Gail Beppu and Deb DeWit, to join us in our annual group exhibition this month. Our anniversary year will end in December with another group show that will include work from all of our past and current members. Please come by and experience the diversity of voice and media that is Waterstone Gallery. We would love to get to know you!

One of the main objectives of the PADA galleries is to promote their represented artists for long-term success. There are several goals that these galleries pursue for their artists such as inclusion in prestigious public exhibitions and collections, published essays about the work, and a broad base of sales. Hometown support for an artist’s career is crucial, but to ensure vibrant, long-term success they must have patronage from other parts of the globe. Thus the agenda is to show our artists’ work to known art collectors, curators, writers, and the general public. The more eyes on the work – the better!

In an effort to connect with new audiences, we are always looking for opportunities to expand our reach in the most appropriate way. In 2010, walking around downtown, or reading business journals, it was hard not to notice the number of retail shops and restaurants “popping up” for short periods in vacant spaces from Portland to New York. Froelick Gallery invests heavily in promoting its artists work to curators around the country, but what if we had a “pop up” location in an entirely different city? It would have to be a place known to art collectors, where people could casually stroll in and see a strong selection of our artists work.

Charles Froelick was visiting Palm Springs in early 2010 and made a stop at the Palm Canyon Galleria, legendary in the design world for its boutiques offering choice mid-century European goods. He and owner Jim Gaudineer fell into a conversation about the gallery and began a long distance dialogue, with Jim ultimately offering the front space in the Galleria for a one-month Froelick Gallery exhibition.

The Palm Springs location was ideal (and we couldn’t complain that it was a sizzling paradise compared to icy Portland). In addition to the connection with the Galleria location, Froelick already had a number of personal and professional associations in the desert area. With the warm and dry climate, Palm Springs has long been a glamorous haven for snow birds from around the US. Many of our NW clients make their winter home in this desert region. Modernism Week (a fair celebrating Mid-Century design), now in its sixth year, consistently draws a huge crowd. Plus, the venue – being a Galleria with several high-quality and like-minded established businesses – was a perfect fit.

By August of 2010, we were busily making plans for our first “pop up” adventure in another state. After establishing the location, we had to figure out the logistics. How would we haul enough work to fill a second gallery for a month?  Would we be able to staff both galleries with only three people?  What should we exhibit?

We wanted to create a space that would reflect the spirit of the gallery in Portland, but knowing that Modernism Week would draw a particular audience, we tied into the modernist aesthetic. We chose works by Terrell James, Alfred Harris, Victor Maldonado and Robert Yoder. We also wanted to introduce a handful of other artists whose work might resonate with a Southern California audience. The references to film and TV made Nat Meade’s paintings a natural choice. Gwen Davidson recently finished a large commissioned painting for the new Nordstrom in Santa Monica; her work was added to the list. Joe Feddersen had exhibited a new series of prints and glass baskets partially inspired by Art Deco architecture and suburban development; the glass vessels would be gorgeous in the desert light. Photographer Susan Seubert created a series of bomb testing images framed in lead lined boxes – a subject matter that might strike a chord with desert residents.

With artwork chosen, floor plans laid out, labels printed, office supplies packed and sunscreen slathered, Charles was ready to leave Portland for a month in the desert. As the boxes were loaded into the van, we agreed that even if we didn’t sell one piece from the Palm Springs gallery, we would still be satisfied with the effort of meeting new people and extending our network.

We didn’t have to worry: Froelick Gallery Palm Springs received an incredible response. We sold as much work in California as we did during the same time period in Portland. Success! This was the shot in the arm that we needed – it boosted our confidence; we then participated in the December 2011 Aqua Art Miami fair in Miami Beach. It was such a positive way for us to present our artists to eager collectors, curators and writers from around the world.

Look for Froelick Gallery to “pop up” again in Palm Springs again this March! The gallery will take over the same space at the Palm Canyon Galleria, 457 N Palm Canyon Road.

For all the people out there who enjoy First Thursday and other gallery and art tours, you may consider attending an art fair as the next step toward immersing yourself in art.  Art fairs are a great way to see a lot of diverse art in a short time.  For several years there was even a Portland-based art fair called The Affair at the Jupiter Hotel which brought galleries from up and down the West Coast and collectors from as far away as Atlanta, Georgia, to Portland each September.

Elizabeth Leach Gallery at PULSE

While there are a number of art fairs in the United States and an even greater number globally, the most prestigious and well attended art fair in the US is Art Basel Miami Beach, which takes place annual in early December.  As many as 50 – 70,000 artists, collectors, curators, consultants, designers, museum directors and art dealers attend this annual event. With so many visitors who are passionate about art, design and culture descending upon Miami, a number of “satellite” art and design fairs have developed and take place at the same time.  Some of the most well-respected satellite art fairs are PULSE Miami, NADA (New Art Dealers Association), Art Miami, SCOPE and Aqua Art Miami.

Froelick Gallery at Aqua Art Miami

Earlier this month three PADA member galleries participated in the 2011 Miami art fairs: Elizabeth Leach Gallery and PDX Contemporary Art participated at PULSE Miami and Froelick Gallery participated at Aqua Art Miami. We presented excellent exhibitions bringing works by our gallery artists to new audiences from around the globe.  Elizabeth Leach Gallery featured Isaac Layman, Anna Von Mertens, Zach Harris, Sean Healy and Joseph Park.  PDX Contemporary Art featured Amjad Faur, D.E. May, Johannes Girardoni, Storm Tharp, and Adam Sorensen.  Froelick Gallery featured Rick Bartow, Laurie Danial, Leiv Fagereng, Alfred Harris, Terrell James and Stephen O’Donnell.

PDX Contemporary Art at PULSE Miami

Art highlights from Art Basel Miami Beach included an installation by international art star and political activist Ai Wei Wei and a grouping of “sound suits” by Nick Cave.  At the Margulies Collection at the Warehouse (a private art museum in a converted warehouse) a hanging light and mirror installation by Olafur Eliasson stole the show!

Interested in attending an art fair? Mark you calendar now for the 2012 Miami Art Fairs, December 4th through 9th.  We’ll see you there!

“Art is never finished, only abandoned.” -Leonardo da Vinci

Sometimes it seems a frame is like a vise around an artwork, forcing it into a finished state with shapes and colors and textures foreign to it. But then again, sometimes a great frame can undeniably add to an artwork’s impact. A great frame can offer positives like boundaries, protection, and enhancement; it can act as a decorative bridge to the environment the artwork lives in. And sometimes most importantly, it can protect the artwork’s impact and value for decades to come. Making the best framing choices starts with an overview of the broad range of framing materials and styles, herewith, some thoughts on frames and framing. Be sure to consult a PADA member gallery with any specific framing questions or requests you may have.

“The most important thing in art is the frame. For painting: literally; for other arts: figuratively – because, without this humble appliance, you can’t know where The Art stops and The Real World begins. You have to put a “box” around it because otherwise, what is that shit on the wall?” – Frank Zappa

Protection may be the most important aspect of framing for prints and other works on paper. We often see damaged works when clients bring them in to be appraised, consigned or re-framed.  It’s sad to see how quickly sunlight, moisture or insects can damage artworks without adequate protection. Just like those old photo albums with acidic paper liners ruined our family photos, poor quality framing materials will take their toll on the artwork they surround. It’s just a matter of time.

“Art consists of limitation. The most beautiful part of every picture is the frame.” - G.K. Chesterton

As the price of art continues to move higher, with some things reaching stratospheric prices today, it is ever more important to consider the archival preservation of works using professional state-of-the-art framing. Galleries who specialize in works on paper encourage their clients to choose only 100% cotton rag mats, acid-free back boards and UV3 plexiglass or conservation clear glass at the very least.

“If I spit, they will take my spit and frame it as great art.”  - Pablo Picasso

Here is an example of how important archival framing can be:

In the 1970′s you could purchase Andy Warhol soup can prints for $200. Many people put poor quality framing materials on these works at a cost of about $200 per frame  at the time.  Had they used state-of-the-art archival materials, the framing would have cost about $350.  Today the poorly cared-for prints in the non-archival frames sell at auction for about $5000 to $7000. These prints usually have mat stains and burns and the red colors have faded to light pink. In contrast, the prints that were well framed have little noticeable defects and almost no color attenuation, and they usually auction for about $15,000 to $17,000, a $10,000 difference.  So spending an extra $150 on framing 35 years ago might have rendered a $10,000 return. Not every artist’s work has appreciated like Andy Warhol’s over the last few decades, but enough have that it should be a major consideration when deciding what materials to use for framing.

“Frame thy mind to mirth and merriment, which bars a thousand harms, and lengthens life”  - William Shakespeare

Last but not least (and this is not really about frames), a recommendation:

We’re thankful this month for the playful web series from Jim Kempner Fine Art “The Madness of Art” – a new episode comes out every couple of  months. They skewer themselves and the art world – and they always make us laugh. Have a Happy Thanksgiving.

Installation

Storm Tharp, The Dresser (sftkbdp) (2008), Courtesy PDX Contemporary Art

Installation art is created to transform the perception of a space. If you really want to think outside the wall, an installation is a way to truly commit to a life surrounded by art. It is a singular experience to have one in your home or business: a conversation starter, a statement piece, and a flashpoint for creating unmistakeable ambience.

MK Guth, Terrain Change (2009), Courtesy Elizabeth Leach Gallery

Elizabeth Aro & Silvia Levenson, La piu bella del reame (2011), Courtesy Bullseye Gallery

Installation art is also a great way to galvanize commercial and common spaces like lobbies, hallways, foyers, and landings, making a trip between floors or through buildings into a unique and stimulating experience.

Ming Fay, Full Circle (2011), Courtesy Butters Gallery

Video Art

Matt McCormick, future so bright: western edge (2007), Courtesy Elizabeth Leach Gallery

Do you enjoy having a large flat screen for watching movies and television, but wonder what to do with it when you’re not watching? You can transform that blank, black canvas into instant art with a piece of video work.

MK Guth, Rapunzel (2005), Courtesy ELizabeth Leach Gallery

Whether you’re creating a focal point for entertainment at a party or keeping it on throughout the day, a video art installation can be the new urban version of a fire in the fireplace. You can also use a projector to activate an entire wall with time-based art. Both options will fill your space with color, light, and motion. If you have several works, you can easily rotate them in and out for a constant refresher-as you might imagine, video works store very easily.

Vanessa Renwick, FULL ON LOG JAM (2010), Courtesy PDX Contemporary Art

Sculpture

   

Stephan Soihl, Linear Arrangement with Two Arrays (2006), Courtesy Blackfish Gallery

Sculpture is far more than statuary, and can imbue any room with a look that is thoroughly contemporary. You may not have any wall space to spare, but have you considered the floor? What about the ceiling? Corners, mantles, and bookshelves can all become display surfaces for amazing objects. Consider mobiles- they’re not just for children anymore- which can provide a whimsical alternative to a chandelier. Display favorite sculptures on entryway tables for the full, in-the-round effect.

Lee Kelly, Nepal I & II (2010), Courtesy Elizabeth Leach Gallery

Outdoor Sculpture

Lee Kelly Untitled (Khajuraho) (2009), Courtesy Elizabeth Leach Gallery

When thinking outside the wall, sometimes it helps to literally think outside. Adding outdoor sculpture to a garden, lawn or terrace is a great way to carry your love for art into your exterior spaces. Works range in size from small to monumental and in media from the organic to the industrial.

Chick Butcher, Displaced (2006), Photo: L. McGregor, Courtesy Bullseye Gallery

Built to weather the elements (and the occasional child who loves to climb), outdoor sculptures create great focal points in the landscape. A collection of several sculptures can structure a gardening scheme and turn a front or back lawn into an outdoor gallery.

Jun Kaneko, African Reflection, Blue, Red, Yellow (2007), Courtesy Bullseye Gallery

Click to view slideshow.

Book Arts

The art of the book may be ancient, but contemporary iterations have opened up the medium to ends that are experimental, poetic, sculptural, narrative, and unmistakably captivating. The act of independent and personal publishing is itself an act of gentle subversion- a handmade version of something that is so commonly mass-produced. Artist books are an affordable way to bring an interactive object into your home without taking up an enormous amount of weight or space. With so many materials, binding techniques, and aesthetics to choose from, a book can be appreciated and displayed in a myriad of ways.

Images courtesy of the artists and 23 Sandy Gallery‘s Book Arts collection 

Ceramics

Like an artist book, ceramics riff on the functional. On the spectrum from serving vessel to sculpture, there are endless options for collecting, as great ceramic art can be just as at home on a dining room table as a conference table, fireplace mantle, or even a bathroom. From whimsical to zen to rustic, there is a ceramic tradition to suit every taste. There is a comforting quality to ceramic, no matter what form it takes, that comes out of the earth from which it was made, and which graces any environment with that familiar and warm charm.

Images courtesy of the artists and Butters Gallery, Ltd‘s Ceramics collection 

Fiber Arts

Admittedly, fiber arts might be a slight cheat when it comes to thinking outside the wall, since many fiber works are made to hang.  But if you think you know quilts, or needlepoint, or weavings, think again. Textiles that blur the boundaries of two-dimensional work abound in a contemporary context, merging the conceptual and domestic to gorgeous and texturally rich ends. These may not be works to fold and place at the foot of the bed, but they are definitely in a different vein than the typical wall piece.
Images courtesy of the artists and Elizabeth Leach Gallery 

Wearable Art

There’s nothing like a work of art that you can carry around with you, one that augments your style even when you are out and about in the world. Jewelry, pins, money clips, and other accessories transcend mere decoration when they are crafted with gorgeous, rare materials and an extraordinarily skilled hand. If you have a love for small treasures that make huge statements, consider sourcing out pieces that compliment your aesthetics with one-of-a-kind details.
Images courtesy Quintana Galleries‘ Jewelry and Wearable Art collection

Architectural Commissions

You might have seen this post, in which Jamie Truppi of Bullseye Gallery explains some of the possibilities for architectural commissions arranged through a gallery. A commission is the ultimate way to think outside the wall: why worry about artwork that fits in your home when you can build it right in? As this clip shows, an artist can bring a very real impact to even the most everyday objects and settings.
 

Image courtesy of uphill.com

One of the big questions on every artist’s mind is: how do I approach an art gallery with my artwork? All galleries have different ways of finding new artists to add to their rosters, so this can be a tricky question. This article will give you some ideas on how to get the gallery attention your art deserves.

First and Foremost

A few notes on etiquette:

-Remember that gallery owners are running a small business and are very, very busy. Respect their time. Don’t bombard the gallery owner with emails and don’t add them to your monthly email newsletter list without asking their permission first. Don’t necessarily expect them to have the time to critique your work or to provide career counseling and advice.

- If you do send an email, don’t say, “Here’s my new painting.” That’s nice, but what do you want the gallery to do about it? Be specific about what it is you are looking for.

Do Your Research.

Find out what kind of art your target galleries generally show. Each gallery has aesthetic, style or medium preferences. Go to the gallery or their website, and see if your art fits. Make a list of the best venues for your artwork and target just those galleries, and follow the guidelines they set out. Which brings us to the next step:

Do More Research.

A variety of important information can usually be found on a gallery’s web site. Look for their “artist submissions” or “gallery information” page. You may have to do a little digging to find it, but check these areas: Contact, Artists or About Us. Some may request a link to your web site, your resumé or your CV. Some galleries may require slides, or Jpegs on a CD via mail. Some galleries hate getting Jpegs via email. Find out how they want to be approached and follow their particular guidelines- this will not be a one-size-fits-all process!

For example, Portland’s Froelick Gallery only reviews artist submissions every January. Some galleries may say they are not accepting any new artists at this time. Blackfish Gallery, a renowned artist-run co-op in Portland, offers occasional opportunities for membership; plus they also have two “fishbowl windows” that are available to unrepresented artists and curated through a jury process. Does your target gallery only show local or regional artists or are they open to out of town artists?

If your research and attention to detail doesn’t pay off, don’t be disheartened: There are other steps you can take to get attention from a gallery. Here are a few things that you can do to increase your visibility and build your resume:

Be Aware of Your Opportunities.

Watch your target galleries to see what sort of opportunities they have for artists. Perhaps they are like Blackfish Gallery and have special areas set up for new artists. PDX Contemporary Art curates a similar space. Or, perhaps they will have a call for entries to juried shows, which is a great way to give the gallery a test run. You get to know them and how they operate and they get a chance to give your art initial exposure to their regular collectors. Watch for these opportunities and then jump on them.

There are also many local and national juried exhibitions that have open calls to artists.  Look for listings on websites such as the Regional Arts and Culture Council. Inclusion in these types of exhibitions will increase your exposure and establish you as an artist with a commitment to their practice.

In approaching galleries, above all be professional, be realistic and be persistent. If you follow these guidelines, you will have a much easier time getting your artwork seen and your creative voice heard.

The Portland Art Dealers Association is evolving.  In the spirit of community participation that influences local culture, PADA has expanded its seven-year partnership with Portland Art Focus, a group representing Portland’s most dynamic museums and nonprofit and academic galleries. This alliance unveils increased membership, enhanced web and social media presence, increased coverage of arts events in Portland, and an expanded guide-map, maximizing outreach globally and locally. The re-design of PADA’s monthly Portland Art exhibition guide debuts in May and is intended to give the greater community one primary source for information on the very best Portland’s thriving visual arts scene has to offer.

Simultaneously, PADA unveils updated branding designed by Don Rood of Portland’s Felt Hat studio. PADA’s new logo reads at a sixteen-degree angle, which nods to the divergent orientation of streets north and south of Burnside. It is a symbol for intersection, with a typeface and color scheme that is both contemporary and classic. This logo will be featured on the web, in the new guide and the monthly PADA Picks emails, and the new PADA Blog. By embracing multiple concepts, the Felt Hat has emphasized PADA’s strength as a harmonious, though heterogeneous, coalition.

This energized affiliation between PADA and PAF advances both groups’ objectives by establishing an even stronger representation of the arts in Portland.  Both come together with a proven commitment to collaboration over competition, a philosophy of shared resources and sustainability that is thoroughly in the spirit of the times and unmistakably Portland.  “The museums, nonprofits and commercial and academic galleries which make up Portland Art Focus all believe that our combined presence makes a stronger statement about what’s regularly on view in the city”, quotes Blue Sky Executive Director Todd Tubutis. “Seeing art leads to collecting art, which in turn directly supports the artists we present. Together, we hope to build an even greater support base for Portland’s vibrant arts economy.” Heightening the presence of Portland’s contemporary art dialogue, this sea change will ensure that the city continues to be a destination for art lovers drawn to a scene as varied, spirited, and conceptually fierce as it is significant, established, and reputable.

See the links to the right-hand side of of this post to learn more about PADA and Portland Art Focus. And here’s to the fine arts of Portland, and their abundant future!

Ultimately, Photography is subversive, not when it frightens, repels, or even stigmatizes, but when it is pensive, when it thinks. – Roland Barthes

Photolucida‘s bi-annual portfolio reviews festival might only last three days, but all of April presents a feast for Portland’s photography lovers. The lectures, gallery walks, and reviews themselves, where a plethora of mid-career artists gather to network and receive feedback, are just the tip of the iceberg. Galleries all over the city are exhibiting photography this month- maybe you saw some on First Thursday! The PADA galleries are offering an incredible array of landscapes, portraits, documentaries, narratives, and processes. Take a look:

Holly Andres, from The Fall of Spring Hill (The Witnesses #1), 2011

Charles A. Hartman Fine Art is showing The Fall of Spring Hill, a solo exhibition from critically acclaimed photographer Holly Andres. In large-scale, lush color images, Andres ponders the brevity of childhood, the fleeting nature of memory, and female introspection. This new work is the most recent chapter in an on-going photographic project depicting short melodramas of fictitious families. These are personal accounts of childhood memories in which mothers performed heroic acts in an attempt to protect their children. As in her previous work, this new series is concerned with revisiting, recreating and preserving history, the interweaving of fact and fiction and finding a place in which biography and fictitious narration come together.

Eirik Johnson, Freshly Felled Trees, Nemah, Washington (2007), archival pigment print

In an exhibition co-curated by Seattle’s G. Gibson Gallery, two photographers at the Laura Russo Gallery are showing works that reflect on different perspectives tied to childhood experiences and memory. Julie Blackmon’s photographs explore interpersonal dynamics, illustrating “the stress, chaos and the need to simultaneously escape and connect” that characterize family life in her experience, while referencing the 17th-century Dutch genre painting tradition that inspires her. Eirik Johnson grew up in the Pacific Northwest, and while he is currently based in Boston, he remains compelled by the region’s iconic forests. In Sawdust Mountain, Johnson juxtaposes the majestic landscape with the encroaching industrial and cultural shifts of our time. The resulting photographs show the intersection of ecology and industry in our own backyard.

Isaac Layman, 12 Glasses (2011), archival inkjet print

It’s a series of firsts at Elizabeth Leach Gallery this month: Isaac Layman, large-format photographer and 2008 Betty Bowen Award winner, in his first solo exhibition in Portland,and Beat poet Allen Ginsberg‘s first photographic exhibition in the Pacific Northwest. Layman uses a 4×5 camera and the magic of photoshop to monumentalize the mundane, as objects from his own house take on a hyperreal quality that skirts the line between real and abstract, quotidian and sublime. These images are joined by Portraits, Ginsberg’s shots of friends and fellow Beat heavyweights in intimate, unguarded moments engendered by familiarity and friendship. This show is a must-see for fans of Ginsberg, Kerouac, Burroughs, and their contemporaries, as it offers a rare glimpse into their personal and working lives.

Amjad Faur, Atmospheric Perspective (2011), carbon pigment print

PDX Contemporary Art offers a solo exhibition by Amjad Faur entitled Bethlehem in Wax, a meditation on representation and history that employs constructed environments, symbolism, and cultural readings to explore the existential implications of modern, occupied Palestine. These black and white carbon pigment prints explore photography as a medium as much as the implications of what they depict. At PDX Across the Hall, Masao Yamamoto‘s exhibition of silver gelatin prints, KAWA=FLOW, is also a meditation, but on the rupture between the present and what comes before or after, expressed by “Kawa”, the Japanese word for river or flowing water. Both exhibitions illuminate the way that forms and formal choices can evoke metaphor and emotion.

Susan Seubert, Hotel Room 9, ambrotype

Not one, not two, but three solo photography exhibitions are taking place at Froelick Gallery this month: Proof, by Ron Van Dongen; <r e s t r a i n t>, by Susan Seubert; and Cinema Deconstructed, by Theresa Wingert, and all showcase a unique approach to the medium. More multimedia artist than straight photographer, Wingert has combined landscape and soundscape to evoke memory, place, and narrative. Seubert’s ambrotypes, which are created using an anachronistic wet plate process, explore the titular theme in multiple, multifaceted manifestations, from the culturally-imposed (Chinese foot-binding slippers, Niqabs, and corsets) to the more formal and literal (a stack of letters tied with twine). By contrast, the subject’s of Proof, a selection of floral studies stored and forgotten by Van Dongen for years, are not the focus of his exhibition. Rather, it is the new images created by the chemical degradation and reactions that have taken place, without supervision or intention, on the surface of the original Polaroids. These images, which were each affected idiosyncratically by the breakdown of chemicals and the passage of time, highlight the beauty and inevitability of chaos and the impermeability of life, even when captured and “preserved” by the lens.

Maria Lawson, Untitled (2010), Wet plate collodion on glass

On the Eastside of the river at 23 Sandy Gallery, alternative processes take on fresh contexts in Photo Alchemy, a group exhibition jurored by Laura Moya and open since April 1. These images are crafted using some of photography’s earliest methods, with hand-coated papers, hand-mixed chemistry, and a poetic and enigmatic perspective of life and its mysteries. Quotes Moya, “These new images explore the notion that the time spent ‘crafting’ a photograph versus ‘taking’ a photograph gives the photographer space for thought. If one is working with heavy lenses, glass plates, or a multitude of chemicals, time slows down. If one is considering how air temperature might affect one’s film, time really slows down. It is the complexity of these processes that bring gifts to the table.”

Demetrius Noble and Julian Hibbard, From Tales of an Unknown Aviator- the Art of Luis Greenhill

At Butters Gallery, Ltd, Andrea Maki‘s portraits of wild horses held temporarily captive provide a counterpoint to the collaboration of Demetrius Noble and Julian Hibbard, whose photographic collaborations document an extraordinary collection of model planes, handcrafted from found materials by an elderly Chilean artist. Both series are being exhibited under the title New Exposures, and it is Noble and Hibbard’s first gallery showing of this body of work. Both also treat their subjects with a reverence that is echoed in their hand-treatment of the surfaces.

Caleb Charland, Ten Seconds in Oil and Water (2007), gelatin silver print

Caleb Charland’s Demonstrations, a collection of silver gelatin prints that document the magical transformation of everyday objects through the power of physics and human ingenuity, is currently on view at Bullseye Gallery. These images bestow the artist’s own sense of wonder and possibility upon the viewer, who becomes witness to these frozen moments of transformation. Charland’s background in construction and childhood in rural Maine informs both the simplicity and ingenuity of the work. This exhibition is hosted in collaboration with Blue Sky Gallery (Portland) and Michael Mazzeo Gallery (New York).

Ron Cronin: The Alvord Desert and Pueblo Mountain (1988), Fujichrome print

Augen Gallery is also offering multiple photography exhibitions, including Vintage Prints, by 5th-generation Oregonian and longtime photographer Ron Cronin. Since 1969, Cronin has been traveling the state andNorthwest to document its full range of vast landscape scenes with a large-format Deardorff camera. With the capability to produce 8 x 10 inch negatives and 30 x 40 inch prints, Cronin probes the very components of his expansive subjects- the land and sky- placing our human scale into modest perspective, while at the same time, investigating bursts of vivid, miniscule living organisms that force us to hone our gaze. In addition to Vintage Prints, Augen Gallery’s back room is home to a selection of photographs by Phil Bard, David Levinthal and Grace Weston.

Jim Neidhardt, #7 (2011), pigment print

The back room of Blackfish Gallery is now home to a short photo series by Jim Neidhardt entitled Museum. Examining the effect new visual technologies have on the behavior of museum visitors, Museum documents what happens when personal digital devices intervene in the art experience. The photographs were taken at the British Museum in  London, where all types of recording devices are permitted, including flash.

There are many artists, in all mediums, who will take commissions for fine art to fit the parameters of your home or business. Feeling inspired? Consult with your favorite PADA member gallery to see what you can make a reality.