It was a one of those weeks and I was glad to make it to the end. Friday was my day off, so I took the dog for a hike, dropped off the paintings for the ODFW Stamp Contest, and then crossed of a New Year’s Resolution (we won’t talk about that this has been my resolution for the last 3-4 years…)
Author’s note: The photos in this blog are taken by me, but the content of them is the sole copyright of the artist of the pieces shown. The museum expressly gives permission to all visitors to take pictures (flash off.)
The reason I (finally) decided to check this off my list is that the Dale Chihuly exhibit is closing August 28 (the day of this post, one day after my visit).
Living in the Pacific Northwest, Chihuly is practically a household name. At the coast, glass blowers abound. But his work is lovely, if very commercial (let’s not be prejudiced against commercially successful artists…)
As you can see from the subtitle above, the exhibit was broken into three main sections. I didn’t care for his early work (the cylinders). I have seen the Macchia (his middle work) so many times that it barely registered. It’s lovely and let’s leave it there. The Venetians were fun, though not to my taste.
Putti and the Dragon (1997) – example of Venetian period.
While I had seen pieces of work from his Macchia series many times, I was interested to find out what the word means on one of the explanatory signs.
In the summer of 1981, Dale Chihuly began an ongoing series of flamboyantly shaped and brilliantly colored vessels that he called Macchia. The work macchia comes from the Italian word for spotted or stained…
But what I REALLY loved was the displayed drawings.
-
-
Macchia Drawing #31 (1989) – Graphite, charcoal, and watercolor on paper
-
-
I use this same paper!
It was fascinating to see another artist working through things. It made the actual glassworks more accessible for me.
-
-
Ebeltoft Drawing (1991) – Mixed media on paper
-
-
detail
I also thought that they blurred the line between abstract and representative art. This was an artist trying to work out what he wanted, but he was making it up out of thin air. And yet, each area of the paintings had interest. Looking at the small detail of one of the blooms (above), I felt like there was enough to keep someone inspired for years. Clearly, Chihuly felt the same.
Ebeltoft Drawing (1991) – Mixed media on paper
As with most museums, there were other exhibits going on.
Narrative
We are drawn to images that are recognizable and familiar: figures, objects, places, and even words. They are also narrative in nature, because they tell stories or imply associations. Meaning can be fluid. It begins with the artist, who constructs the narrative. However, interpretations are ultimately left to the viewer, whose experience of the work will be informed by their own knowledge and perceptions.
-
-
“Carmelita and June” by Sherry Markovitz (2015) – Gouache on cotton
-
-
“Sentinels of Time” by Michele Russo (1993) – Acrylic on canvas
-
-
“Thinking” by Henk Pander (2011) – Watercolor on Paper
-
-
“the laughing woman” by sloy (2017) – Oil on canvas
Point of View (items from the permanent collection)
point of view
1: a particular attitude or way of considering a matter
2: a position from which someone or something is observed
In this exhibition series, we invite members of the Willamette community to share their experience or interpretation of a work of art from the perspective of their area of expertise, study, or research.
-
-
Yali/vyalam roof bracket (Indian, late 19th century) – teak wood
-
-
“Tidal Drift) by Constance Fowler (ca. 1960) – oil on masonite
-
-
Large single-handled pitcher (Roman, 1st-2nd century)
-
-
“Irises and Poem” by Sakai Hoitsu (1761-1828) – hanging scroll; ink and light colors on ink with brocade mounting
Claudia Cave: Paper, Pencil, Paint
I have seen enough of Claudia Cave’s work to recognize her style. I was surprised to learn she was from the Portland area.
piece by Claudia Cave, though I did not get the title of the piece.
My favorite item was this piece, which is a single panel from a set called “The Strip Drawings”.
Selected example from “The Strip Drawings” by Claudia Cave (1990-1993) – Ink on paper (size 24″ x 1.25″)
The strip drawings explore such themes as confrontation, metamorphosis (from congeniality to irrational anger), avoidance and escape, fear, upheaval, miscommunication.
I was really impressed at how she told this story.
Ancestral Dialogues: Conversations in Native American Art
“Salmon Prayer” by Rick Bartow (2002) – Carved cedar root, acrylic paint, and abalone shell
This exhibition might have been my favorite. I am a big fan of Tlingit art and it was wonderful to see some of these traditional pieces interspersed with Willamette Valley weaving (apparently, what this area was best at) as well as contemporary art.
-
-
“Hummingbird” by Patrick Amos (2006) – Serigraph
-
-
“Raven”, “Salmon”, “Beaver” by Mark Preston (2001) – Serigraphs
-
-
Coiled cedar-root baskets (Klickitat style, early 20th century): Their conical shape prevented berries at the bottom from being crushed or spoiled.
-
-
did not get piece information, but plaque underneath says: “The art of the Northwest Coast is distinguished by its use of formline, a term that refers to the stylized curving lines that create teh online of the subject. Subjects may include animals and legendary creatures as well as abstract designs. The formlines themselves, usually in black or red if painted, often take the shape of ovoids, and U and S shapes.”
-
-
“Ice” by James Lavadour (2007) – Oil on panel
-
-
“Camas Series #13” by Jaune Quick-To-See Smith (1980) – Oil on canvas
The first two photos are by Tlingit artists. The basket is of Klickitat style, which is the area I live; those who have ready Beverly Cleary may remember Klickitat Street. The figurine had a mention of “formline” which is the term to describe what I found most appealing about the Tlingit style. The bottom two pieces are my contemporary artists. “Ice” reminds me of all the windmills along the Columbia Gorge. “Camas Series #13” invokes horses (one of my favorite subjects), but also confuses me with the use of blocks of color. An intriguing work.
On the way out, I chatted with the front desk receptionist (yes, all wearing masks, thank you). I learned the Native American gallery changes frequently. I’m going to try to go back. So, one resolution crossed off, and another takes its place!
