The Associated American Artists wanted to bring art to every home.
Sad Days for Eugene’s Art Scene as One of Its Few Galleries Closes
EUGENE, Ore. — A downtown city gallery in Eugene, Oregon, just succumbed to nonprofit exhaustion — and angry local artists reacted en masse during a contentious community meeting intended to calm the waters.
Oregon Occupiers May Have Violated Federal Law by Damaging a Native American Archeological Site
Armed white men have been occupying the headquarters of the Malheur National Wildlife Refuge in southeastern Oregon for three weeks now. But the federal land they’ve laid claim to is not only a wildlife preserve; it’s also the home of more than 300 prehistoric sites and some 4,000 archaeological artifacts belonging to the Burns Paiute Tribe.
Kara Walker Lands in Oregon
EUGENE, Oregon — The Black Portlanders, a project initiated by Intisar Abioto that focuses on the black people of Portland documenting one another, recently posted an open letter asking for help raising $15,000 to keep alive their project.
Portland’s New $35 Arts Tax Begins
Though the National Endowment for the Arts seems under constant threat of being gutted, one city initiative is putting arts funding at the forefront of civic responsibility rather than last on the list. In November of last year, Portland, Oregon, passed a new annual income tax of a flat $35 fee that goes directly to supporting local arts organizations.
Postmodernist Architecture Becomes History
Oh, postmodernism. You are history now. This fall, architect Michael Graves classic 1982 Portland building was added to the US National Register of Historic Places.
Eyebrow House Takes Suburbia Into the Space Age
Portland’s Eyebrow House transforms a typical mid-century American home by integrating curvilinear elements that look futuristic and industrial without rejecting the neighborhood and its identity.
New Museum’s Richard Flood Equates Bloggers with Prairie Dogs
Referencing prairie dogs and Mussolini, yesterday New Museum chief curator Richard Flood wound up his talk at the Portland Art Museum on “Creating Networks: The New Internationalism” with some bracing criticism of his own directed at online critique of his institution. Unlike the rest of his talk which very sharply traced American art world’s relationship with work by international artists 1980s to present from his vantage points at the Barbara Gladstone Gallery, Artforum, the Walker Art Center, the New Museum, his final comments were wildly out of touch with the ways we have conversations about art now.