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CULTUREPHILE: PORTLAND ARTS

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scene & herd

Switchyard Studios

A peek into a thriving Southeast art-and-lecture cabal.

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SCENE & HERD

WHAT: Harp & Altar Party at Switchyard Studios |
WHEN: Saturday, April 9th |
WHERE: an industrial space in Southeast |

NAMES AND CLAIMS TO FAME
Jesse Lichtenstein, co-director of Loggernaut Reading Series.
Zachary Schomburg, author of The Man Suit (Black Ocean 2007), Scary, No Scary (Black Ocean 2009), Little Blind Thing (Poor Claudia 2010), a dvd of poem-films, and the forthcoming Viking (McSweeney’s, 2012). Co-editor of Octopus Books and Octopus Magazine.
Michael Zeiss, contributor to Harp & Altar and consultant for non-profit organizations, spent five years at the American Red Cross working with people affected by the attacks of September 11. His fiction and criticism appear regularly in Harp & Altar.
Keith Newton, founder of Harp & Altar
Alina Estelle Hardin, musician, frequent collaborator with Alela Diane.
Liz Devine, photographer

Founded in 2006, Harp & Altar is a Brooklyn-based online literary magazine focused on innovative and risk-taking literature, publishing poetry and fiction alongside criticism and reviews of writing and art. The Harp & Altar Anthology, featuring a selection of poems and stories from the magazine’s first three years, was published in 2010 by Ellipsis Press, and new issues continue to appear twice a year at harpandaltar.com .

SPACE
Switchyard Studios is just industrial enough that its main entrance is a garage door. A sprawling, high-ceilinged space is subdivided into small studios that provide work space for 30-odd artists.

MOMENTS
~ Improvised seating included a couple salvaged van benches that still had their seatbelts.
~ Whenever a train traversed the nearby railroad, the noise filled the Studio and drowned out presenters, including the soft-singing Alina Hardin, who continued to play through and then remarked, “That was part of the song.”
~ An actual dogfight broke out between two fairly scary pit bulls in the snack area. The visiting dog was rescued and the resident dog finally contained by its owner, a silent man who materialized from some “upstairs” area sporting a Grateful Dead poncho.

QUOTES
~ “I don’t want to date us too much, but the song on the car radio as we first pulled into Portland was Alanis Morissette’s Ironic.”—Keith Newton, of his pre-New York stint in Portland.
~ “I’ve since folded this poem into an airplane.” —from Zachary Schoenberg’s The Man Suit
~ “The journals of Thoreau are variable in quality and interest.” —Jesse Lichtenstein
~ “At least I’m a distinguished schlub.” —overheard in conversation
~ “Goodbye tension, hello pension!” —printed on a trucker cap of an attendee
~ “A world in constant flux, that repeats and repeats its patterns…” —Keith Newton
~ “Let’s keep quiet now. If we say one word, the trees will die.” —Jesse Lichtenstein

For more about Portland arts events, visit PoMo’s Arts & Entertainment Calendar, stream content with an RSS feed, or sign up for our weekly On The Town Newsletter!

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Tags: writer, galleries, scene & herd

scene & herd

April’s First Thursday

A fly-by of a few April arts impressions.

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Floating_double

Trude Parkinson’s figures seem to wander off into another dimension.

SCENE & HERD

WHAT: First Thursday | WHEN: April 7 | WHERE: The Pearl District, Selected Galleries

FROELICK

Each of Theresa Wingert’s large-scale pigment print landscapes, overexposed as though seared by sunlight, was accompanied by a pair of headphones that played ambient sound effects—the flap of pigeons scaring out of sagebrush, the snort of a horse…

In stark contrast, each of Susan Seubert ’s small, dark, underexposed sepia ambrotypes zeroed in on a singular careworn object: a pair of sandals, a packet of letters, an uninhabited antique bird cage.

AUGEN

Trude Parkinson‘s paintings, large solid colorscapes with small, clothed figures as subjects, were hung on hinges so that they could be flipped free of the wall like a page, and viewed two-sided. The paintings’ “backs” revealed silhouettes of the front-side figures, and each had a recessed box containing an anatomical sculpture: here a vertebra, there a foot.

BLUE SKY

Michael Light‘s large bird’s-eye landscapes evoked the liftoff view from an airplane window—still close enough to discern detail, but far enough away to reveal prevailing patterns, whether natural or man-made. Light flipped through a massive book of his prints, expounding on different locations. “This is Paradise Valley, in Pheonix, Arizona,” Light indicated. “I’m pretty sure Darth Vader lives there.”

Meanwhile, Mitch Dubrowner patiently fielded a vague question about his epic, thunderous black-and-whites of twisters, lightning, and billowing cumulus clouds. “Do you have a process for finding storms?” asked an enthusiastic gallery-goer.

In the embedded Nine Gallery, Culturephile finally tracked down the exhibit that had been promoted by a single cryptic piece of chalk, sent to our editor last week in an envelope. The work, Bill Will and Lebrie Rich’s Blank Slate, was a world-map on the wall, and a globe sitting on a pedestal, both rendered in blackboard texture-paint, with chalk on-hand so that visitors could contribute.

BUTTERS

Michael Kessler ‘s acrylic on panel provided the latest answer to the classic riddle, "What’s black and white and red all over," incorporating subtle, polished texture techniques that made creamy whites and grays glide over bolder strokes like a fog.

Andrea Maki’s giant horse prints were muzzle-nuzzlingly close, and huge in scale. The wisps of hay that jutted out here and there, were in places as wide as a wrist.

WHITE BOX

Chinese multimedia interactive artist Hung Keung entertained an attentive audience with an explanation of his piece, Bloated City | Skinny Language. “In the advertising in China, they always encourage the lady to be more skinny, in the language. And to make the breasts more bigger.” At the same time, he said, the cities are burgeoning beyond their bounds (like bloated breasts). “Let’s get away from short cuts,” said Keung. “Slim gradually. Grow a city gradually.”

A walk through Keung’s piece gradually revealed Chinese calligraphy han characters installed on corners and walls, and finally opened on a giant back wall which magically projected an image of the viewer, and fluttering han characters that appeared to follow each subject’s movement and perch on his or her head and arms.

For more about Portland arts events, visit PoMo’s Arts & Entertainment Calendar, stream content with an RSS feed, or sign up for our weekly On The Town Newsletter!

Add a Comment »

Tags: Art, Galleries, First Thursday, scene & herd

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