Ambiguity as Relationship

I learned how to paint very traditionally. I hesitate using the word classical, since even though I was taught to look at the masters and art history - and had certain ideals hammered into me, like a full 8 semesters of drawing) - my education as an undergraduate painter was more about structure and practice. I began as a student and am now becoming a painter.

So I learned how to make things right. Even though this meant disregarding grandiose art world statements. As an undergrad I even remember a few of us taking a short trip to see RISD's undergrad thesis exhibits. We were intimidated that they might be producing work that was more important than ourselves (and by the way - who was producing important work at that stage?). But when we saw their exhibit, were relieved to find work full of over-reaching themes, grand world statements and conceptual artifice but a lack of any technical skill.

 So we had comforted ourselves: we knew how to paint and draw so we would be better off. I'm not sure if that is true now, but certainly it was true for me. I needed to build structure in my practice before tearing it all apart. I used to envy artists at that age who seemed to have it together. But did they? Were they just endowed with a better creative sense of cool and not cool? Or were they just doing what they did best, and avoiding what they couldn't do: paint?

There is Some Painting Out There

 

Some things to see the first half of this month:

- Jessica Hirsch's Folk Feng Shui

 - House Arrest at Worksound.

- The work of MFA students from the University of Oregon, Brightly Colored Party.

 

- Natascha Snellman at Fourteen Thirty.

- Cut Ups by Gus Van Sant at PDX Contemporary

- Oil paintings of Barbara Sternberger at Leach.

- The 2D works of Leiv Fagereng, Sarah Horowitz & Alfred Harris at Froelick.

See also PORT's First Friday Picks.