The artists in Mesh collectively delve into connections to land and to community, pushing back against colonizing forces, and reclaiming their own narratives and power.
Frida Kahlo, Diego Rivera, and Mexican Modernism feeds into the repeated use of Kahlo and Rivera’s work, and the mythology of their romantic relationship, as shorthand for an entire era.
When we have more opportunity to interact with art on our own terms, there are more places to hide from its difficult truths, particularly viewers who have the privilege to do so.
This compilation of venues ranges from stalwart museums to emerging artists’ collectives, offering a cross-section of the spaces defining art in Portland now.
The Associated American Artists wanted to bring art to every home.
The institution announced an expansion project named after one of the most famous postwar American artists: Mark Rothko.
PORTLAND, Ore. — If you type the words “Native American” into Google image search, the majority of the results will be Edward Curtis photographs
What you experience when you visit an art museum these days is likely very different from what your parents did when they were your age.
Recent criticism of The Plains Indians: Artists of Earth and Sky, which closed recently at the Metropolitan Museum of Art, sheds light on the many issues that arise when mainstream art museums present Native American art.
MEISSEN, Germany — Of his extensive collection of ceramics, Oscar Wilde once remarked: “I find it harder and harder every day to live up to my blue china.” What Wilde felt he was increasingly failing to “live up to” was probably the sort of bourgeois respectability that is often symbolized by a set of good porcelain.
Everyone’s favorite triptych will be taking a trip to Portland, Oregon, the New York Times has reported.
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.