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.
Part of a long-term documentary project by interdisciplinary artist Carlos Motta— in collaboration with artists Heldáy de la Cruz, Julio Salgado, and Edna Vázquez– We Got Each Other’s Back is a three-part, multi-channel video installation featuring portraits of queer artists and activists in the United States who are or have been openly undocumented, and who are producing work to denounce historic and present-day broken US immigration policies.
Zemula Barr Your Chair, digital photography, 2020 Zemula Barr is an artist and curator based in Portland, Oregon, where she manages the photography exhibitions at Blue Sky Gallery. From 2015–2019 she co-directed Wolff Gallery in Portland. She works primarily with photo-based media, combining original film, alternative process, and digital photographs with family snapshots, handwritten text,…
Continue reading ➞ Domestic Landscaps: Zemula Barr, Bethany Hays, Colin Kippen, Rachael Zur
Elizabeth Leach Gallery is pleased to present A Postcolonial Landscape by Modou Dieng, featuring paintings that explore themes of Black representation and erasure in a globalized society. Dieng reimagines his own experience through dazzling, idiosyncratic mixed media artworks that engage in dialogue with personal narratives and Eurocentric art history.
Beginning in 18th century France, fashion plate prints introduced buyers to current fashion trends. Engravings collaged with silk or velvet depicted women in the latest styles. Green's Fashion Plate extends this tradition to encompass contemporary fashion, gender, and identity, intertwined with the artist's personal narratives.
Fuller Rosen Gallery presents NO SANCTUARY, a two-person show of new work by Panteha Abareshi and Kayley Berezney. Set against the backdrop of a global pandemic, NO SANCTUARY explores the intimate relationship each artist has with their own health.
Christine Howard Sandoval’s practice revolves around the embodied act of walking on sites of precarious and contested land. Negotiating the material contours of urban and rural landscapes, their inherent layers of human memory, and their political and ecological stakes in the present, she seeks to un-learn things as they are.
With graphic marks and emphatic colors, White conjures portraits that are celebratory and personal. Muscular and energetic brushstrokes coalesce to form complex images that are more emotional than representational.
Well Well Projects opens its doors January 2021 with its first exhibition, What Do We Have Here? Featuring work from its 10 members, Well Well’s inaugural exhibition gives a hint of what's to come during its upcoming year of programming.
The Jordan Schnitzer Printmaking Residency at the Sitka Center for Art and Ecology was established in 2002 to provide working artists with little or no printmaking experience the opportunity to explore a new creative medium with guidance, instruction and technical assistance from an expert etching printer.
Provax uses the letterpress as other artists may use a paint brush or chisel. She imbues various paper types not only with words and phrases that often ring poetic, but with pigment, embossing, wrinkles and buildup of ink.
Carnation Contemporary is pleased to present Pangea, a solo show featuring recent work by Hannah Newman. Pangea releases a stream of potential energy from language and inanimate objects, sending resources and bodies into intersecting orbits.
