...'not not: in view of'...
AUGUST 1 - 31
OPENING: AUGUST 1, 6 PM
ARTIST TALK : AUGUST 10, 3PM
MINI SYMPOSIUM and PERFORMANCES: AUGUST 24, 3 - 5PM
JAMES REED '...not not: in view of...'
James Reed presents an exhibition of drawing, mixed media and objects, which emerged from working with lime, vinegar and asking ' What do the silent and invisible processes look like that are active and informing our views?'
James Reed emigrated to the United States from South Africa in 2010. He Lives in Portland, OR. He has exhibited locally and internationally.
GARY WISEMAN: The Incomplete and Unfinished Works Vol. I
Purple, a Storm (Are We Dead or Just Dreaming?)
Art is a complicating factor, rarely a solution. Meaning cannot be made or designed only located.
Kazimir Malevich saw the face of God in his black square. Dutch modern artist and DeStijl founder Theo van Doseburg declared, “The square is to us what the cross was to the early Christians.” Malevich’s black square eventually multiplied into the nine square grid of Ad Reinhardt’s Black Paintings. Reinhardt deployed his human-scale devices of nearly imperceptible tonal variation to signal the death of--the completion—of the project of Modern painting and open the door to all that came after (a very Modernist thing to do.) What has not been clearly understood about Reinhardt’s Black Paintings, perhaps, is that they also signaled the dawn of the digital and prefigured the rise of the #. What the cross was to the early Christians; what the square was to Modernism; the # has now become to digital natives. In the # the cross and the square are blended into an integrated symbolic form that supersedes its antecedents and yet continues to serve a remarkably similar function—sanctification--to set apart.
Identity is increasingly designed, a product to be consumed. Identity rarely incorporates our totality or the complexities we truly embody as individuals, for it is based on a fictional story we tell ourselves about ourselves, or, as is often the case, a story we are told about ourselves. What makes us truly unique—our interiority and the contradictions that we embody—is also that which others will never be able to fully embrace. Identity is a constructed form we gather tightly around ourselves as a shield from the unsettling reality of alienation, uncertainty, and emptiness that lurks at the center of experience.
Prince recorded Purple Rain live on August 3, 1983 and the single reached number one a year later on August 4, 1984. At the time no one really took note that his band was called the Revolution. Now, though, Prince seems almost prescient, as if he gazed 35 years into the future and prescribed a response to the colonization of all areas of life by politics and the ever increasing polarization of red and blue. Purple, an intersection, a plurality, a storm.
Gary Wiseman is an artist, facilitator, writer, and musician. He has exhibited and performed at such places as Portland Pataphysical Society, Flux Factory, the PICA TBA festival, The Douglas F. Cooley Memorial Gallery, and The Housatonic Museum. Wiseman was the 2015 inaugural Signal Fire Tinderbox artist in residence and received the PNCA Dorothy Lemelson scholarship from 2009-2014. Wiseman co-founded Place, a 4000 square foot installation-based gallery on the top floor of Pioneer Place Mall, with Gabe Flores in 2010 and formed the collective Kitchen Sink PDX (2005-2007) with Alicia Eggert. Wiseman was born on Mt. Tabor and grew up in SE Portland, OR. He emigrated to Australia in 1993 and lived there until 2003 when he returned to Portland where he remains. www.garywiseman.com ig: @e.e.wiseman
AUGUST 10, 3 PM
IN CONVERSATION WITH GABE FLORES, JAMES REED, AND GARY WISEMAN
Gary Wiseman and Gabe Flores have collaborated in various contexts and been engaged in an ongoing conversation about identity, power, religion, trauma, and mental health since 2008. Gary Wiseman and James Reed have been engaged in a similar conversation since 2014 around value, interiority, contemplative practice, education, and trauma. Wiseman, Flores, and Reed will bring their conversational research to bear in an informal discussion centered on Wiseman and Reed’s current work.
Gabe Flores is an artist currently splitting his time between Cleveland, Ohio and Oregon’s Willamette Valley. Flores’ work is relationally based and often reflects on identity-based ideologies and personal narrative. He was the co-founder of Place, a 4000 square foot installation-based gallery on the top floor of Pioneer Place Mall, which ran for four years. Flores also co-founded a two-year exhibition experiment, Surplus Space, which utilized each room of a small Northeast Portland house in partnership with a long-term homeowner. Currently, Flores is in his second year of a three year decompression project in which his participation in the arts is at an intentional minimum (no large scale projects or exhibitions) in order to mentally regroup. Flores hopes his three year decompression will assist in him becoming more internally reflective while making necessary changes to help him ensure a healthier approach to making/activating.
MINI SYMPOSIUM AND PERFORMANCE EVENT REGARDING THE NATURE OF IDENTITY
AUGUST 24, 3-5 PM
SHARYLL BURROUGHS, FELICITY FENTON, GARY WISEMAN, MEANDER,
Identity is increasingly designed, a product to be consumed. Identity rarely incorporates our totality or the complexities we truly embody as individuals, for it is based on a fictional story we tell ourselves about ourselves, or, as is often the case, a story we are told about ourselves. What makes us truly unique—our interiority and the contradictions that we embody—is also that which others will never be able to fully embrace. Identity is a constructed form we gather tightly around ourselves as a shield from the unsettling reality of alienation, uncertainty, and emptiness that always lurks at the center of experience.
SHARYLL BURROUGHS: Marked
What’s beneath the surface of identity? Multidisciplinary artist Sharyll Burroughs investigates this question in Marked, a visceral art experience inviting participants to not only challenge their beliefs about identity, but to contemplate the deeper meanings of being human.
Sharyll Burroughs is a mixed media/performance artist who attended the Santa Monica College of Design, Art, and Architecture, founded by MacArthur Genius Fellow, Joan Abrahamson. Her work has been featured in solo and group exhibitions in Los Angeles, California and in Portland, Oregon where she now resides. www.sharyllburroughs.com
FELICITY FENTON: I am because my little dog knows me
I am because my little dog knows me is a reading inspired by the canine wisdoms of Gertrude Stein. Dogs are welcome and encouraged to attend.
Felicity Fenton’s multidisciplinary work (social practice, photography, installation) has been featured in public and private spaces around the globe. Most recently, her stories and essays have been featured in WOBBY, Fanzine, Split Lip Press, Wigleaf, The Flexible Persona, and The Iowa Review. Her book, 'User Not Found' was published by Future Tense Books in December, 2018. By day she works as a Creative Director and is also a Radio Host at Freeform Portland. She lives in Portland, Oregon. www.felicityfenton.com
Meander is a contemporary folk pop duo based in Portland, OR. They make mostly original music featuring lush harmonies and unconventional arrangements. Portland native Ama Bentley and long time Portland resident Erin Moreland have played together for almost 20 years, touring regionally, playing festivals, a variety of venues, and house concerts.
GARY WISEMAN: Gary Wiseman
Before the designation Gary Wiseman was identified with Art in the United States it was identified in Australia with songwriting, singing, and music. The entity to whom the designation Gary Wiseman is attached will play guitar and sing songs, originally crafted toward survival, offered here as an active functional component of the existing visual work and for the pleasure, enjoyment, and edification of those who choose to collaborate through the contribution of their attention.
July 4 - July 28, 2019
The members of Gallery 114 will share the gallery space for a genuinely diverse show featuring collage, sculpture, photography, and various modes of painting. Redoux is defined as “bringing back” and the yearly members’ exhibit allows us all to show our work together – not the same as last year’s show, but rather where each of us has gone since exhibiting our past work.
We live in a world where excess and want are polarized into extremes. When we have what we need, we can always acquire more, and when we lack the necessities, wanting is all we have. What shape does desire take? How do you trace the boundaries of decadence? Where are their intersections? How much is Too much? What is enough? How do we measure our consumption, our needs and wants, our materialism in terms of decadence + desire? In June, Gallery 114 presents a juried exhibit of artworks that explore these themes on a personal, political, cultural or social level. DECADENCE + DESIRE includes 21 artists from throughout the United States – Oregon, Washington, Pennsylvania, New York, Colorado, New Mexico, California, Maryland, Massachusetts, Illinois, Texas, Virginia, North Carolina, and Wisconsin. Sculpture, painting, printing, photography, paper quilting and mixed media are included in the exhibit. Opening reception- First Thursday June 6, 2019 6-9 pm
Mary Jo Mann presents a body of work entitled “Reflections” which offers viewers a quiet and contemplative space. The work is an expression of her time sitting by a small lake and willow tree during an artist residency in Caylus, France. The abstract paintings, done primarily with ink on canvas, speak of the human experience in nature. The medium’s fluidity and transparency expresses the mesmerizing experience of the watery environment by the lake. Complimenting her paintings is ceramic sculpture reminiscent of botanical and rock forms found in nature.
Heather McGeachy’s time spent in France was filled with a rush of productivity. Focusing on themes that have been lingering in the background for years, she was able to give over to dissecting the complicated relationship humans have with the natural world. Her show, titled “Shapeshifters”, reflects an exploration of the moments when we strive to be of the natural order and less segregated from our environments and our animal brethren.
Sunday, May 19 at 4 p.m. authors David Oates and Annie Lighthart will read poetry and prose that responds to the natural world and our increasingly paradoxical place in it. Anticipate joy...and some necessary truth telling.
David Oates writes about the creative arts, nature, and urban life. The Heron Place won the 2015 Poetry Award and publication from Swan Scythe Press (San Francisco). His previous book of poetry Peace in Exile was published by Oyster River. He has been a finalist for various prizes, including the Lascaux Prize, Inlandia Gravendyk Prize, and Nimrod’s Pablo Neruda Award, as well as the 2018 Ars Poetica Prize (from Riddled WithArrows).
Annie Lighthart is a poet and teacher who started writing poetry after her first visit to an
Oregon old-growth forest. She has taught at Boston College and with writers of all ages,
teaching poetry workshops wherever and whenever she can. Poems from her books Iron
String and Lantern have been featured on The Writer’s Almanac and in various
anthologies, including Poetry of Presence: An Anthology of Mindfulness Poems and
Healing the Divide. Pax, her next book of poetry, will be out in 2020 from Salmon
Poetry. Annie’s poems have been turned into choral music, used in healing projects in
Ireland, England, and New Zealand, and have traveled farther than she has.
See the show at Gallery 114, from noon to 6 p.m. Thursday through Sunday from May 2 to May 31.
Opening reception from 6 to 9 p.m. on Thursday, May 2
Artist talk with Mary Jo Mann and Heather McGeachy on Saturday, May 4 at 2 p.m.
Poetry reading by author David Oates at 4 p.m. on Sunday, May 19.
All events take place at Gallery 114, located at 1100 NW Glisan, Portland, Oregon, and are free to the public.
What does it mean for a work of art to be beautiful in 2019? That question was posed to the artists who applied for this exhibit. The theme is challenging--in part because the contemporary art world has dubbed beauty a dirty word. Dave Hickey tried to rescue it from the onslaught of art criticism with his collection of essays in The Invisible Dragon in the '90s. The three artists Park, Ross, and Kim took up Gallery 114's invitation to challenge that critical taboo, and they reassert in their own ways the place of beauty in art. These artists presented individual work based in a powerful and moving quality embedded in a strong aesthetic, a key criterion in their selection.
Special Event--Panel Discussion
Saturday, April 13, at 6:10 pm
In conjunction with the exhibit, the gallery will have a panel discussion,"Beauty in Contemporary Art," on April 13th. Panelists Mark Andres, Daniel Peabody, Amy Bay, Tamara English, and Kendra Larson will discuss how beauty has been marginalized and will present different perspectives on its necessity and complexity.
A painter and a photographer explore the longings, hopes
and passions of the decorated and tattooed human figure,
For March 2019, Gallery 114 presents InkBodySkinPaint+Fire, a joint show featuring the decorated and tattooed human figure, featuring painter David Slader and photographer Owen Carey.
The theme for the show was sparked by a remark that the figures in Slader’s paintings were tattooed. Carey picked up on that thread, creating a series of intimate portraits of people whose body art is their personal journal, expressing their intimate stories, traumas and yearnings.
The artists will host a preview reception at 7:00 p.m on March 6th. The show opens on First Thursday, March 7th, 3-9:00pm, and runs through March 30th. Gallery hours are Thursday – Sunday, noon-6:00pm.
Each of Carey’s models has a personal story of perseverance and is available for interviews.
Three special events are scheduled during the run of InkBodySkinPaint+Fire.
Risk/Reward will present an experimental performance during the show’s First Thursday opening, March 7, 2019. Tattoo-clad performers will pose as live art models while telling stories of the inspirations behind their tattoos, lending a living, beating heart to the works on the gallery walls. Performance happens intermittently between 6:30-8:30pm.
The Importance of Being Frank, a one-person performance by Rusty Tennant – Artistic Director of Fuse Theatre Ensemble and a featured model in InkBodySkinPaint+Fire – explores the theses that Shakespeare was gay. Tennant takes their audience on a fast-paced exploration of the mysteries surrounding the greatest playwright of all time on Saturday, March 16 at 4:00pm. (Donations accepted.)
The Invisibility of Visibility, literary readings by members of the Street Roots vendor community, will take place Tuesday, March 26, 6-7:30pm. Sponsors include Street Roots, Gallery 114 and the Pearl District Neighborhood Association.
All events take place at Gallery 114, located at 1100 NW Glisan, Portland, Oregon, and are free to the public.
Please see also: www.davidslader.com
Pat Bognar, one of the photographers in this show, remarks that Portland is both special and ordinary, and "like other ordinary places, it can be quite extraordinary if people take time to really look around them, especially the common places and neighborhoods where people live and work."