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Installation view of Finding Our Way at Lumber Room, a bright room with white walls, wood floors, exposed wood ceiling. In the center of the image, three framed works, a decorative bottle, and small object are arranged on a shelf. To the right, a stack of whitewashed wood lean against the wall.

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.

Free
Exhibition flyer for "We Got Each Other's Back" at Portland Institute for Contemporary Art. Pink, green, and red shapes float on a yellow background. There is a pink line running down the horizontal center of the flyer with the participating artists names: Carlos Motta, Heldáy de la Cruz, Julio Salgado, and Edna Vázquez. The exhibition dates are in the upper right corner: November 7, 2020 - February 14, 2021.

We Got Each Other’s Backs

Portland Institute for Contemporary Art 15 NE Hancock St, Portland

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.

Free
A diptych of rectangular, portrait orientation paintings. Each painting is a features a loose grid, with some of the grid's cells either cut out of the canvas leaving a void or layered over other cells. The individual cells are painted with a combination of gestural, grasslike lines, grids and checkerboards in various colors, and photographs collaged on a black paint background.

Modou Dieng: A Postcolonial Landscape

Elizabeth Leach Gallery 417 NW 9th Avenue, Portland

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.

Free
Numerous variously shaped plates hung in a loose cluster on a white wall. Each plate is decorated with a different scene, primarily in one color, such as cobalt blue, orange, turquoise, vermillion, gray, and purple. The scenes reference 18th century illustration style.

Julie Green: Fashion Plate

Upfor Gallery Portland

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.

Free
Photo collage of Panteha Abareshi performing. There is a grid of nine images evenly spaced on a background with a circular gradient that transitions from red in the center, to yellow, and turquoise at the edges. Each of the images shows the performer in a different moment. They are wearing white under garments and knee pads and using two crutches. At the bottom of the image, the word PANTEHA appears in thin, black, sans serif text.

NO SANCTUARY

Fuller Rosen Gallery 1928 NW Lovejoy St., Portland

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.

Free
An arm reaches out from the bottom left of the frame to touch a sandy-colored rock wall. The arm has a long sleeve white shirt, the rock wall has grooves and marks of various depths. The image is slightly blurred, indicating that it was taken while the camera-holder was in motion, as if walking.

Timelines for the Future: Christine Hope Sandoval

Disjecta 8371 North Interstate Avenue, Portland

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.

Free
Two paintings hanging on a white wall. The painting on the left is square and features a side profile portrait of a man with brown skin a, black hair, and a black mustache, looking to the right on a blue background. The words "Will E Mays" hover the man's large nose. The paining on the right is rectangular, and features a man in profile, facing left, with darker brown skin, black hair, and a black mustache on a deep blue background, wearing a lime green shirt.

Billy White

Adams and Ollman 418 NW 8th Avenue, Portland

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.

Free
A photograph of a bouquet of flowers and fruit bursting out of a vase on a black velvet backdrop. The flowers and fruit are lit with differently colored lights. There are some digitally added marks and images superimposed on the photograph, such as various emojis.

What Do We Have Here?

Well Well 8371 n interstate ave #1, Portland

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.

Free
Many rough-edged, semi-transparent red rectangles layered over each other. They all have writing on them, such as "ancient" "observer" "chair" "rising sun" "ancestor," and "tongue." Over all the other words and layers, the word "MOTHER" is written twice in large scratchy black letters.

Jordan Schnitzer Printmaking Residency 20th Anniversary Folio

Waterstone Gallery 124 NW 9th Avenue, Portland

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.

Free
Lilac text on white paper in two swooping formations. Text is all caps, sans serif and reads "it's just so hard to know what to do" with text printed over itself to create image.

Alyson Provax: Old Long Since

Agenda 4505 SE Belmont, Suite A, Portland

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.

Free
A large, craggy-edged and shiny black rock surrounded by bright yellow archway with a reflective pink background.

Pangea: Hannah Newman

Carnation Contemporary 8371 N Interstate Ave, Portland

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.

Free
Black text on a white background reads "hard & SOFT." The word "hard" is in fluffy, cloudy, doughy letters with a highly contrasted black shadow. The ampersand is in a simple sans serif font. The word "SOFT" is all capitalized and in a bubble sans serif font that has cracks and lines.

hard & SOFT

Congress Yard Projects 7034 N Congress Ave, Portland

Congress Yard Projects’ first exhibition of 2021, hard & SOFT will submit the artworks to continuous display outside, throughout the wet dragging days of late winter. This turns our previous format on its head from the summer series of weekend long exhibitions where artworks susceptible to the elements are moved inside nightly. Rather, hard & SOFT will run for 1344 hours, from late January til Spring Equinox, showcasing works that stand resolute under the weight of the grey dripping sky, alongside works that embrace weathering transformation and decay.

Free
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