Photo of a gallery space with multiple large sculpture pieces taking up the center of the room, each composed of ornate, multi-patterned fabrics fixed onto a frame or skeleton in large wheel-shaped sections, which are stacked on top of each other. In the rear, two framed pieces hang on the wall.

A Presentation by Baseera Khan

Baseera Khan is a performance and visual artist based in Brooklyn, New York. Deploying linguistic shifts and fashion as political mediums, Khan attempts to untrap revolutionary material through working with textiles, archives, performance, and sculpture. Khan is currently working on their first museum solo exhibition at the Brooklyn Museum (2021). Their latest solo exhibition, Snake Skin, opened at the end of 2019 at Simone Subal Gallery, New York. Khan’s work has shown in various group and solo exhibitions such as at Munich Documentation Centre for the History of National Socialism, Munich, Germany, Jenkins Johnson Projects (2019), Sculpture Center (2018), Aspen Museum (2017), Participant Inc. (2017). Khan’s performance work has premiered at the Whitney Museum of American Art and Art POP Montreal International Music Festival. Khan recently completed a 6-week performance residency at The Kitchen NYC (2020) and was an artist in residence at Pioneer Works (2018-19), Abrons Art Center (2016-17), was an International Travel Fellow to Jerusalem/Ramallah through Apexart (2015) and attended the Skowhegan School of Painting and Sculpture (2014). Khan is a recipient of the UOVO Artist Prize (2020), BRIC Colene Brown Art Prize, and the Joan Mitchell Painters and Sculptors Grant in 2019, which was granted by both NYSCA/NYFA and Art Matters in 2018. Khan received an M.F.A. from Cornell University (2012) and a B.F.A. from the University of North Texas (2005).

two fabric tapestries hang on white walls, under the name of the artist, "Alexis Day," in black. On the left, the larger of the two features a woman seated in a car with the driver-side door open and both her legs outside the door, while blue mountains loom in the background and what seems to be snow spills out of the bottom frame of the painting, as part of the fabric of her tapestry transforms her two-dimensional painting into a three-dimensional piece. On the right, a woman is seated on the windowsill of an industrial-style window, and the fabric of a sofa chair opposite her spills out of the "frame" of the tapestry.

Alexis Day Faceted: Time and Expectations

Elizabeth Gallery is pleased to present Alexis Day, Faceted: Time and Expectations, an exhibition that highlights new fabric tapestries by the artist that continue her exploration of surrealistic imagery through allegory and three-dimensional space.

Day’s subjects of female figures and isolated interiors interweave historical narratives, daydreams and memory. Created with source material photographs printed on textiles, these works are reconfigured through collage and embellished with sewn or embroidered details.

New sculptural and fabric elements allow the images to protrude into the canvas foreground. Day combines a tactile beauty with a disquieting unease in her psychologically charged illusory spaces to encourage open-ended, dreamlike associations while the physicality anchors her subjects in the present.

Alexis Day is a Portland-based mixed media artist, originally from the coastal town of Bandon, Oregon. Using her background in psychology, she investigates the impact of perception and memory on individual and cultural identity. Day earned an MFA in Visual Studies from the Pacific Northwest College of Art in 2019, a BS in Art Practices from Portland State University in 2016 and a BS in Psychology from the University of Oregon in 2010. Recent exhibitions include Putting it Together 2, at the Foundry (St. Charles, MO), Figuratively Speaking at the Liberty Arts Collective (Bend, OR) and Dismantled, a solo exhibition at the Lodge Gallery (Portland, OR). In 2020, Day was an artist-in-residence at the Studios of Mass MoCA (North Adams, MA).


Justin Duyao sitting at a small wooden table on a beach in the late afternoon. Justin has brown hair, and has his elbow propped on the table with his head resting in his hand. He smiles at the camera.

Announcing Variable West’s Editorial Apprenticeship

Justin Duyao sitting at a small wooden table on a beach in the late afternoon. Justin has brown hair, and has his elbow propped on the table with his head resting in his hand. He smiles at the camera.

We are thrilled to announce that Justin Duyao is Variable West’s inaugural Editorial Apprentice for the spring 2021 semester.

Justin is a writer, editor, and student with a BA in English Literature from Harding University. He lives in Portland, Oregon, and is pursing an MA in Critical Studies from the Pacific Northwest College of Art. His interests include studies of consciousness, sociolinguistics, and gender.

The VW Editorial Apprenticeship is a semester-long paid program that allows emerging writers and editors to learn how an online journal works while expanding their art writing practice. In addition to assisting with daily tasks such as website and social media management, apprentices receive reading and writing assignments, participate in discussions, and will take ownership of Variable West’s Love Letters column.

Apprentices receive a stipend of $2,000. This year’s program is made possible through a collaboration with the MA in Critical Studies program at PNCA.

An AIM Help Tutorial chat dialogue open on the screen of an early 2000s iMac desktop computer. User COOLKID2005 says: "Should I apologize to you or warn you? If the answer lies in my 6th grade aim messages, I'll let you know."

see also: variable performances of a well-designed site index

Featured artists:

Onyx Andra
Ellena Basada
sean chamberlain
Mandy Messina
Charlie Miller
Melaney Mitchell

curated by: Kyle Cohlmia, PNCA curatorial fellow

Cyberspace is often thought of in the abstract. Compared to the limits and boundaries of physical spaces, our virtual realities feel open-ended, a limitless experience of searching, clicking and scrolling. Site indexes, a reprise from the immeasurable and sometimes exhausting act of research, provide users with the opportunity to explore the internet from a list of curated databases. Categorized either alphabetically or topically, these inventories are often deemed comprehensive, listing synonyms of words and concepts as “see also,” under main categories (e.g. “See also: Manet,” under impressionist painting). However, what happens when the “see also’s” limit users to researching only invariable, canonized content? What topics are not mentioned or erased from our computer’s and personal lexicon when interacting with these indexes? And further, what is the role of digital art in correlation to the common site search?

Michael Conner of Rhizome writes, “we use the metaphor of the object boundary to help guide conversations about the role that a given software or network context might play in relation to a given work.” Conner further contends that if digital art is, therefore, without material boundaries, then “objecthood is only the performance of objecthood, and the boundary is not a given, but a variable.” These variable performances, while not new to the study of digital art, when examined in context of the user, become more expansive. As the current global pandemic necessitates the use of the internet for many in-person activities, the user’s role in relation to technology becomes, like digital art, more and more performative and excessively variable.

(see also:) variable performances of a well-designed site index examines the variable performances within cyberspace. Artworks such as “Femi(net)” by Melaney Mitchell use digital tools to expand on representations of gender within the virtual realm, and “Stuck inside” by Charlie Miller adopts 3D animation to simulate the effects of COVID-19 on our relationship to nature. While site searches have the ability to provide a one-stop-shop for research, (see also:) seeks to call-out the homogeneity within these databases, further examining the variable performances within new media art as well the user’s performance in the digital realm and act of passively clicking on link after link after link.


An installation image of a black plastic tub filled with sand. There are three lit beeswax candles inserted in the sand. A hand reaches in from the upper left corner of the frame with another lit candle, lighting one of the candles in the sand. To the right of the tub, a small paper sack holds more candles.

Nine Exhibitions / Nine Weeks

Fourteen30 Contemporary is pleased to showcase nine Thesis exhibitions of the Pacific Northwest College of Art’s Low-Residency MFA in Visual Studies. Presented as a series of solo exhibitions, each the duration of seven days, July 12 through September 19, 2020.

Taking place during the global COVID-19 pandemic, as well as a national civil rights movement, the preceding exhibitions are an opportunity for nine burgeoning artists to be seen on a wider contemporary art platform. Fourteen30 Contemporary joins a list of galleries throughout the US, including Perrotin gallery (New York) and Steve Turner (Los Angeles), in presenting graduating classes of 2020 in unprecedented times. Additional student exhibitions can be seen virtually on “Thesis Shows 2020,” a website conceived by the graduating photography class at the Rhode Island School of Design and built by the students Yueying Erin Wang and Travis Morehead. It links to documentation of complete exhibitions by the entire class at 75 art programs in the United States and Canada.

July 12 – July 18: Natalie Laswell: To Unravel
July 19 – July 25: Sydney Leja: Beauty Within Death
July 26 – August 1: Patrick Durka: Worlding
August 2 – 8: Kalaija Mallery: Virtuous Beasts
August 9 – 15: Melissa Gueiros: Rhythms of Grace
August 23 – 29: Ray Rogers: Colossal
August 30 – September 5: Joseph Rodriguez: Building Blocks
September 6 – 12: Robert Fields: Exiled (Artist Concept):
Daydreams & Nightmares of Home

Sept 13 – 19: Jeffrey Rosenthal: Nebulous Complications

Rooted in critical investigation and rigorous, self-disciplined creative practice, the Low-Residency MFA in Visual Studies program is ideal for motivated students who can work independently, who desire a flexible structure, and who are seeking the challenge and community of an immersive graduate program, inclusive of both discipline-specific and interdisciplinary practices.