Simon Peers quote: “If we hadn’t made this permanent …”

[Byline: The Golden Spider Silk at the V&A showcases the world’s largest pieces of cloth made entirely from spider silk].

“Simon Peers explains the spectacle before us. ‘If we hadn’t made this permanent, this silk would be webs in the wind. That’s part of the magic. Something so ephemeral and yet somehow we’ve managed to capture it.'” (24)

Jones, Denna. “World Wide Web.” Embroidery. May | June, 2012. pgs 24 – 27.

Things to do in Portland this weekend: (05/18/12 – 05/20/12) “Thesis Exhibition opening reception at the Ten Four gallery & Annual Spring Art Sale at OCAC & Oregon College of Art and Craft Graduation Commencement”

THESIS EXHIBITION OPENING RECEPTION AT THE TEN FOUR GALLERY

The Oregon College of Art and Craft (OCAC) Thesis students are putting on a group show of their own in downtown Portland, Oregon(Friday, May 18, 2012 from 6-10 pm on the corner of NW10th Avenue and Hoyt in the Pearl District).

This is a very important event for our students. Each thesis student has spent the past year creating a body of work, and this final exit show is an opportunity to display their work as an entire group, and, to a broader group visitors. You can show your support by visiting the following site (which has more details and examples of the students’ work): http://ocac2012.weebly.com

More information here: http://blog.oregonlive.com/my-portland/2012/05/ten_four_2012_ocac_exit_show_5.html

Where:  Ten Four (formerly the Attic Gallery) | NW 10th Ave. and Hoyt

When:   May 18th, 6 – 10pm. Runs through May 31st (11am – 7pm, Tuesday – Sunday).

Phone: 503 297-5544

 

ANNUAL SPRING ART SALE AT OCAC

Buy local and support Portland’s emerging artists at the annual Oregon College of Art and Craft Spring Art Sale. Explore the functional, inventive and sculptural ceramic, book arts and fibers pieces, as well as the affordable, limited edition original jewelry created by OCAC students.

Organized by faculty, students and alumni, the sale proceeds fund the participating student artists, visiting artists, and the purchase of studio equipment.

Admission is free and open to the public.

Where: Oregon College of Art and Craft | 8245 SW Barnes Rd.

When:   Saturday and Sunday, May 19th  and May 20th.

Phone: 503 297-5544

Website: http://ocac.edu/#/events/calendar/2012-may19-annual-spring-art-sale/

 

OREGON COLLEGE OF ART AND CRAFT GRADUATION COMMENCEMENT

Public Reception 2:30pm-4:30pm

The Board of Trustees of Oregon College of Art and Craft is pleased to announce commencement exercises for the graduating class of 2012 at the Jean Vollum Drawing, Painting and Photography Building on the OCAC campus.

Johanna Branson | Commencement Speaker

Johanna Branson was graduated fromWellesleyCollegewith a B.A. in art history; she received a PhD in the same field from Brown University in 1976.

Dr. Branson has published widely on modern and contemporary art. Special projects have included Seeing Through “Paradise”: Artists and the Terezin Concentration Camp, an international exhibition and catalogue; Homeland: Use and Desire, an exhibition of contemporary art from the American southwest; and essays on topics ranging from Kara Walker to Huynh Phuong Dong, a Vietcong artist and soldier.

Dr. Branson spent her professional career at the Massachusetts College of Art, first as Professor of Art History, and then as the Senior Vice President for Academic Affairs.

Dr. Branson is currently a Fellow of the National Association of Schools of Art and Design, and continues to serve as an accreditation team chair. She is also a consultant and speaker on various topics in higher education, art, and design.

Where: Oregon College of Art and Craft, Jean Vollum Drawing, Painting and Photography Building | 8245 SW Barnes Rd.

When: Saturday, May 19th, 12pm (invitation only) 2:30 – 4:30 Public Reception | Free!

Phone: 503 297-5544

Website: http://ocac.edu/#/events/calendar/2012-may19-commencement-2012/

 

56. “Art School: (Propositions for the 21st Century)” edited by Steven Henry Madoff

This week, being the final week of Spring Semester and a celebratory and exciting time on campus as we congratulate our graduating students (and admire their work and talents), our thoughts have turned to the educational experience students have at OCAC and in art school more broadly. Because we’re a small, mentor-based art school, many of us have and have had the privilege to watch our students develop as makers over the course of many years. It’s certainly the most rewarding part of working at a library that tries to help serve them as they progress as makers and fine artists. With these thoughts in mind, we’ve elected to pick Art School edited by Steven Henry Madoff as this week’s library pick. It is a fascinating book — especially for anyone who has attended art school or has been involved in teaching art. Not only can it serve as a means of contextualizing an institution’s efforts, but it also helps identify a school’s successes as well as providing ideas worth considering for growth opportunities to serve the emerging artists of the 21st century!

Here’s how the publisher describes Art School: “the last explosive change in art education came nearly a century ago, when the German Bauhaus was formed. Today, dramatic changes in the art world–its increasing professionalization, the pervasive power of the art market, and fundamental shifts in art-making itself in our post-Duchampian era–combined with a revolution in information technology, raise fundamental questions about the education of today’s artists. Art School (Propositions for the 21st Century) brings together more than thirty leading international artists and art educators to reconsider the practices of art education in academic, practical, ethical, and philosophical terms. The essays in the book range over continents, histories, traditions, experiments, and fantasies of education. Accompanying the essays are conversations with such prominent artist/educators as John Baldessari, Michael Craig-Martin, Hans Haacke, and Marina Abramovic, as well as questionnaire responses from a dozen important artists–among them Mike Kelley, Ann Hamilton, Guillermo Kuitca, and Shirin Neshat–about their own experiences as students. A fascinating analysis of the architecture of major historical art schools throughout the world looks at the relationship of the principles of their designs to the principles of the pedagogy practiced within their halls. And throughout the volume, attention is paid to new initiatives and proposals about what an art school can and should be in the twenty-first century–and what it shouldn’t be. No other book on the subject covers more of the questions concerning art education today or offers more insight into the pressures, challenges, risks, and opportunities for artists and art educators in the years ahead. Contributors include: Marina Abramovic, Dennis Adams, John Baldessari, Ute Meta Bauer, Daniel Birnbaum, Saskia Bos, Tania Bruguera, Luis Camnitzer, Michael Craig-Martin, Thierry de Duve, Clémentine Deliss, Charles Esche, Liam Gillick, Boris Groys, Hans Haacke, Ann Lauterbach, Ken Lum, Steven Henry Madoff, Brendan D. Moran, Ernesto Pujol, Raqs Media Collective, Charles Renfro, Jeffrey T. Schnapp, Michael Shanks, Robert Storr, and Anton Vidokle.” From (here)

Check it out!

Support the OCAC Thesis Students’ Exit Show!!

The Oregon College of Art and Craft (OCAC) Thesis students are putting on a group show of their own in downtown Portland, Oregon (Friday, May 18, 2012 from 6-10 pm on the corner of NW 10th Avenue and Hoyt in the Pearl District)… and they need our help!

This is a very important event for our students. Each thesis student has spent the past year creating a body of work, and this final exit show is an opportunity to display their work as an entire group, and, to a broader group visitors. You can show your support by visiting the following site (which has more details): http://ocac2012.weebly.com

Holly Levell quote: “Well, I looked at a lot of …”

“Joe Hall: Although the choices people make seem unconscious, on another level, we’re encouraged to choose certain brands, did you look at that side of it – the advertising and marketing?

Holly Levell: Well, I looked at a lot of packaging design and how companies were making things. I did some work on one of the Heinz companies. The advertising team tries to think of products in terms of their emotional connection with people, so Heinz Baked Beans are all about a sort of nostalgia. The adults buying them now still remember being a child and having beans on toast on a rainy day. Heinz wants the customer to relate to the advertising and the colours of the packaging in some way. So I started to think about how to get people to look at objects. The idea of using textiles is of softening a solid thing, making it even more like the nostalgia thing – a soft sort of memory” (21)

Hall, Joe. “Keeping It Real.” Embroidery. Vol. 63. March/April, 2012. pgs 18-23.

Come check out the Diem Chau show!

Meet artist

DIEM CHAU

THURSDAY, APRIL 5, 4 – 7pm,

at the Oregon College of Art and Craft | 8245 SW Barnes Road

A Vietnam native, Diem Chau and her family came to America as refugees in 1986. Drawing on memory and strong family ties, Chau stitches on translucent organza a narrative of personal history, family memories of her homeland and moments forgotten and faded.

She and uses found objects such as porcelain cups and plates to frame her work. Ms. Chau’s work has been exhibited in Los Angeles, Miami, New York, Portland, and Seattle. Wieden & Kennedy, US Cellular, Safeco Insurance and the Wing Luke Asian Museum have all commissioned work by Diem Chau.

41. Darrel Morris edited by Alison Ferris

At 12:45pm today in the Centrum Studio, OCAC’s very own Fibers Department Head & Associate Professor, Jiseon Lee Isbara,  will be giving a presentation as part of the College’s Monday talks series.

Kirsi Peltomäki, assistant professor of art history, department of art, Oregon State University, wrote the following about the artist in her article, “Jiseon Lee Isbara: Piecing Fabric and Life with Thread and Order” on the Call + Response website, supported by the Museum of Contemporary Craft:

“Hand-sewing, whether to join fabric pieces together or make a mark on them by embroidery, remains at the center of Jiseon Lee Isbara’s artistic practice, although she freely makes use of a sewing machine as well, and, on occasion, includes other techniques such as inkjet printing on fabric. A fiber-based artist by training and profession, the material and conceptual dimensions of Lee Isbara’s works simultaneously resonate with contemporary sculpture, particularly work by Eva Hesse and Mona Hatoum, and with the Korean textile tradition of pojagi wrapping cloths. Lee Isbara’s recent work involves pieced fabric stitched into patchwork forms and displayed in three-dimensional installations or two-dimensional wall arrangements. In any configuration, Lee Isbara’s work constitutes mental maps, visualizing territories that are coded and decoded in languages at once familiar and uncharted.”

More images of her recent work can be seen on her website. If you’re in the area, Don’t miss her talk!

For this week’s library pick, we have selected a title that showcases the work of Isbara’s contemporary, Darrel Morris, who is also pushing the limits of hand sewn embroidery. Darrel Morris edited by Alison Ferris. It’s part of a series put out by Telos called the Portfolio Collection, “the British publishing venture dedicated to documenting contemporary fiber art [and] prominent textile artists around the world” (from here).

In Alison Ferris’ foreword about Morris, she describes his embroidered portraitures as “poignant miniatures”  that “addresses masculinity from a queer perspective and, by extension, comes to grip with matters such as shame and humiliation, melancholy and mourning, and the abuse of power as they are experience every day.” She continues that his embroidered images “rendered like characters in comic strips – result in powerful and humorous, if often forlorn, narratives” (6).  These narratives not only express the technical prowess of the artist but particularly the challenges of expression when appropriating other forms of depiction (e.g., comic strips) and translating them into the material thread and cloth and the (visual and physical) vocabulary of fiber art. The result is fantastic. And, as Bob Hicks, wrote in an article for the Oregonian, Morris’s work will astonish the viewer for its technical skill but especially for its “emotional insight” (here).  Check it out!