By Joseph Gallivan
RALPH PUGAY: A SPIRITUAL GUIDE TO BRUTE FORCE
Upfor Gallery, Portland. Nov 1 – Dec 22
Ralph Pugay’s paintings and works on paper have a Richard Scarry whimsy about them – until the blood flows. They repeat patterns and details with an intensity that belies their cartoonish forms. Crowds seem especially intriguing to Pugay. These works were created or conceived during a summer spent in artist residencies at the Joan Mitchell Center in New Orleans; the Rauschenberg Residency in Captiva, Florida; Atelier Circulaire in Montreal; and the School of the Art Institute of Chicago.
KATE NEWBY: A PUZZLING LIGHT AND MOVING
Lumber Room, Portland. By appointment only, email@example.com
New Zealand / New York artist Kate Newby investigates the idea of prolonged engagement with a space, with her work and with a community. Newby often places objects in the landscape that only just stand out – a painted rock, a fi eld of bricks – but this time her objects will be visible, if constantly changing. She has started out by making clay pinch pots that resemble ears, sinuously curved tiles, and blue and white pieces that look like pieces of sea sponge.
Oregon Historical Society, Portland. To Mar 17, 2019
This exhibition tracks the path of great 1960s and 1970s bands as they went up and down the west coast, stopping frequently in Portland when it was less hip but much hippier than today. The co eehouse scene is captured by more than 100 objects, including posters, handbills and other memorabilia. Bands featured include The Doors, Jefferson Airplane and Bu alo Springfi eld. Portland psych bands you might never have heard of include U.S. Cadenza, Total Eclipse and the Nazzare Blues Band.
Imogen Gallery, Astoria. Jan 12 – Feb 5, 2019
Visual artist Ryan Dobrowski is also the drummer in the indie folk band Blind Pilot. These paintings show his search of space and time for self-refl ection, being a series of landscapes that teeter between hyper-realism and Surrealism. His Instagram feed @rdobrowski shows o his range, with bold, logo-like graphics rubbing shoulders with semi-abstract landscapes in the style of James Lavadour.
MATTHEW PICTON: CULTURAL MAPPING
Jordan Schnitzer Museum of Art, Eugene. To Dec 30
British-born Matthew Picton’s maps are medieval in feeling, mixing text and topography with cultural reference points and history. These huge works of cut paper read like maps but feel like tapestries or wall hangings, objects that you could lose yourself in for hours. In El Dorado he contrasts hot-red radial distance lines with a lush jungle-shantytown mash-up. In another work, he looks at the Congo through Western eyes, through Joseph Conrad’s Heart of Darkness and its cinematic retread, Apocalypse Now.