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This IS Kalapuyan Land

Five Oaks Museum 17677 NW Springville Road, Portland

What happens when a museum known for pioneer history turns over curatorial authority to a young Indigenous artist and writer? For Five Oaks Museum, the result is a bold, self-critical exhibition about the Tualatin Valley’s first people.


Art and Race Matters: The Career of Robert Colescott

Portland Art Museum 1219 SW Park Avenue, Porland

As he transformed familiar images to forge new, unexplored social meanings and implications, Colescott became a pioneer in the reemergence of figuration in the 1970s and in the strategies of appropriation in the 1980s.


Finding Our Way

Lumber Room 419 Northwest 9th Ave., Portland

Over the past 10 years the lumber room has placed itself as a meeting ground between exhibition space and private residence, with a goal of creating access and community around a shared interest in the arts.


Common Ground

Anti-Aesthetic 245 W. 8th Ave, Eugene

As a way of getting to ecology through art, Common Ground is a space for exchanges focused on the natural world and environments of different kinds.


What Story Would the Unintended Beneficiaries Tell (WSWUBT)

Center on Contemporary Art 114 Third Ave S, Seattle

WSWUBT is a group exhibition that encourages artists to provide their perspective, to peel back the layers of white-washed history and examine the 19th Amendment, a non inclusive historical moment, through new perspectives that can not be ignored or erased.


Julie Green: The Last Supper

Bellevue Arts Museum 510 Bellevue Way NE, Bellevue

800 Plates Illustrating Final Meals of US Death Row Inmates

Judy Chicago: Mother Earth + Cohanim

Jessica Silverman Gallery San Francisco

Jessica Silverman is pleased to present two shows by Judy Chicago: “Mother Earth,” an exhibition of new and historic works expressive of the artist’s longstanding concern for the environment and climate justice; and “Cohanim,” a series of porcelain paintings, commemorating Leonard Cohen and his lyrics.


I’m Not the Only One

Fraenkel Gallery 49 Geary Street, San Francisco

Fraenkel Gallery is pleased to present I’m Not the Only One, a group exhibition that explores solitude alongside our relentless yearning to connect, in photographs and videos from 19 artists that echo and reflect our current socially distant world.


Kate Bonner: Somewhere in there is a true thing

Et Al Gallery 2831 Mission St, San Francisco

These paintings gather fragments into new frameworks. By joining together they attempt to build something solid, to collect something true, in a shifting and unsteady moment.


Amir H. Fallah: Remember My Child…

Shulamit Nazarian 616 N La Brea Ave, Los Angeles

Fallah’s paintings question not only the historical role of portraiture, but the cultural systems that are used to identify one person from another.


Lois Dodd & Sharif Farrag

Adams and Ollman 418 NW 8th Avenue, Portland

Adams and Ollman is pleased to announce an intergenerational pairing of two solo exhibitions: a selection of paintings from 1986 to 2017 by Lois Dodd (b. 1927) on view alongside new ceramic sculptures by Sharif Farrag (b. 1993). This marks Farrag’s first exhibition at the gallery as well as the first significant presentation of Dodd’s work on the West Coast.


Lesley Vance: A Zebra Races Counterclockwise

David Kordansky Gallery 5130 W. Edgewood Pl, Los Angeles

Lesley Vance has honed an unmistakable visual language in which abstraction articulates its connections to realities both tangible and ephemeral. She has achieved this in numerous ways, emphasizing relationships between light and shadow, exploring different perceptions of space, and reckoning with the materiality of color.


I am not this hair, I am not this skin, I am the soul that lives within.

Shulamit Nazarian 616 N La Brea Ave, Los Angeles

Derived from a quote by the 13th-century Persian poet Rumi, the exhibition's title points to the exhibiting artist's vastly different use of imagery and materials to examine the nature of portraiture by moving beyond the physical representation of a particular subject.


Troy Chew: Fuck the King’s Horses and All the King’s Men

Parker Gallery 2441 Glendower Ave, Los Angeles

The exhibition borrows its title (a riposte to the Humpty Dumpty nursery rhyme) from a self-portrait depicting the artist walking alone on the street at night, paintbrush and blunt in hand. The composition is illuminated in the background by the blinding high beams and red and blue flash of a police car. Taking cues from the tradition of Western History painting, the narrative is left unfinished, allowing the viewer to draw their own conclusions from an all-too-familiar scenario.