Sima Familant

I visited Portland and, with fortuitous timing, attended the 2014 Portland Biennial. While I wasgoed only ter town for one night, the biennial wasgoed undoubtedly the highlight of my visit. Amanda Hunt&mdash,a Voogd at Large for LAXART, a nonprofit space te Lade whose houtvezelplaat I am on&mdash,wasgoed the biennial&rsquo,s voogd, and she did an excellent job organizing a showcase that featured Oregon&rsquo,s talent. The main assets of the voorstelling wasgoed held at Disjecta, a contemporary kunst center with programming that emphasizes forward-thinking visual and performing kunst.

While walking through the space, Amanda discussed what is going on te Oregon&rsquo,s contemporary kunst toneel. There is a tremendous spirit of collaboration that acts spil a thread across the exhibit. An example of this is Modou Dieng and Devon A. Vanhouten-Maldonado&rsquo,s large billboard-like painting that wasgoed undoubtedly one of the focal points of Portland2014.

Another arousing ogenblik of the biennial wasgoed witnessing fresh works by artists that I had bot previously aware of, such spil Jessica Jackson Hutchins. Hutchins lives and works te Portland and Berlin, but I had previously seen hier work only te Fresh York. It wasgoed indeed interesting to see hier work ter the setting of where she&rsquo,s from and to see how that influences hier aesthetics. It wasgoed also arousing for mij to learn about some fresh artists. I liked familiarizing myself with D.E. May&rsquo,s work. May works to understand history and time through nonarchivist language, and I wasgoed fascinated by the work that he introduced. He had a fine fresh figure of work ter the Biennial, works installed at the Portland Kunst Museum, and a showcase at his gallery, PDX Contemporary Kunst.

Another highlight of Portland2014 is its accompanying catalogue, &ldquo,Publication Studio Portland Biennial.&rdquo, Spil Amanda Hunt explains ter the Introduction, the catalogue presents, &ldquo,…an chance to sift through a mass of thoughts that had bot pooled together, a collection of words or photos that te some way represented the process of becoming.&rdquo, Rolling through the catalogue, one practices a non-linear archive of different thoughts, pictures, questions, and works. This catalogue truly represents the progressive nature of Portland&rsquo,s kunst toneel, and I love having it on my coffee table spil a reminder of my journey.

I also had a chance to visit some of Portland&rsquo,s kunst spaces. While there were many places I wished to visit, I only made it to a few (I will include a list at the end with linksaf to some of the other titillating places I&rsquo,ve heard about te Portland). Upfor Gallery&mdash,which wasgoed an extended venue for the Biennial&mdash,had an installation by Ellen Lesperance. I also made it to Fourteen30 Contemporary, which exhibited a group display of Michael Dopp, Rachel Foullon, Israel Lund, Niall Macdonald, Brian Acute, and Josh Tonsfeldt. I am a big fan of Lund and Tonsfeldt and loved observing their work te setting with artists who were fresh to mij. Fourteen30 Contemporary has a excellent space and innovative programming, it is certainly one of Portland&rsquo,s finest youthfull galleries. I didn&rsquo,t have a chance to visit this time, yet Lumber Slagroom, Yale Union, and Adams and Ollman are on my list for my next visit!

I heard beforehand that Portland wasgoed a big foodie town, and I made sure to check that out while ter the area! Voodoo Doughnut is a voorwaarde attempt, especially my dearest, the Old Dirty Bastard doughnut, which is a raised yeast doughnut with chocolate frosting, Oreo&rsquo,s, and peanut butter. I also had an old-fashioned Southern meal at The Country Cat. It wasgoed all about fried chicken and onion rings!!

I wasgoed told that I did not have a true Portland practice spil I had fantastic springtime weather, with their cherry blossom trees, making the entire city speelpop. Portland&rsquo,s infamous rain had only one occurance spil I wasgoed heading back to the airport. A sign, perhaps?!

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