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 Back  Vignettes | Oregon | April – May 2013

By Allyn Cantor

ROLL HARDY: RECENT PAINTINGS Laura Russo Gallery, Portland, Apr 4-27 Portland artist Roll Hardy paints the beauty of decay using urban subjects of abandoned buildings, post-industrial sites and weathered street scenes to convey the inevitability of time upon cultural and economic undertakings. Mystery and possibility are evident in the worn surfaces of architectural spaces and graffiti-laden cityscapes depicted in Hardy’s canvases. The places that Hardy chooses to render have an archeological emptiness that point to the shortcomings inherent in industry and enterprise.

FOLKERT DE JONG Portland Art Museum, Portland, Jan 5-Apr 21 Dutch artist Folkert de Jong is internationally known for his large-scale figurative works and installations made from modern industrial materials like styrofoam and polyurethane. His macabre pieces tell tales of human folly, wartime, political and economic calamity through forthcoming tableaux that are mildly humorous, somewhat gruesome and often uncomfortable. The two major sculptures and series of drawings at the Portland Art Museum certainly achieve his intention of having a visceral impact.

KENNETH JOSEPHSON: IN RETROSPECT Charles A. Hartman Fine Art, Portland, Mar 20-Apr 27 Understanding the rhythm and behaviour of light is central to photographic mastery. The work of Kenneth Josephson takes these formal considerations to another level, building conceptual images that are at once playful and serious, speaking to a fascination with both the internal and external worlds. Throughout his 50-year career, the Chicago-based artist was at the forefront of conceptual photography in the 1960s and 70s. This retrospective includes stellar examples from this period of his career.

JAMES B. THOMPSON: LINEAR METAPHYSICS: CONTEMPORARY MARKMAKING AND TIME-BASED ART WORKS Hallie Ford Museum of Art, Salem, Apr 13-May 13 Drawing on the intersection of art and archaeology, James B. Thompson examines the history and pre-history of mark-making as the original form of time-based media. His interest in the ancient Celtic and Iron Age tribes of Scotland and Britain – people with a strong interrelationship to land, seas and cosmos – considers how these cultures remain only in fragments of the landscape. Thompson’s layering of linear elements in ink and paint suggest a similar stratification effect, paying homage to the passage of time.

WE TELL OURSELVES STORIES IN ORDER TO LIVE Museum of Contemporary Craft, Portland, Jan 24-Apr 27 Recipients of the prestigious Hallie Ford Fellowship in the Visual Arts, these nine Oregon-based artists demonstrate a cross-disciplinary approach to their art practice. They expand upon the conceptual, material and critical potential of art, craft and design trajectories. The show title is derived from Joan Didion’s 1979 essay The White Album and Los Angeles guest curator Cassandra Coblentz utilizes this text as a theme from which to view the diversity among this regional artwork.

Roll Hardy
Roll Hardy

Folkert de Jong
Folkert de Jong

Kenneth Josephson
Kenneth Josephson

James B. Thompson
James B. Thompson

We Tell Ourselves Stories In Order To Live
We Tell Ourselves Stories In Order To Live

 Thu, Apr 4, 2013