Hoping to capture the energy present in the collaboration between Claudia Meza and Portland Taiko at TBA: 2010, Holocene presents a new quarterly series that pairs avant-garde composers and more traditional musical companies. Offering interesting new boundaries and opportunities for local musicians each series, under curatorial direction by Claudia Meza (Explode Into Colors) and Holocene’s Megan Holmes, will present an ensemble performing arrangements created with their abilities and interests in mind by an experimental and/or popular musician, composer, or sound artist.
Yes! I had the chance to put on the white gloves and hang out at Museum of Contemporary Craft while curator Namita Gupta-Wiggers and crew installed the new exhibition Object Focus: The Book, a show of selections from the Reed College collection of artist’s books. Wiggers says, “We wanted to show the range of kinds of forms a book could take and because the collection is so stellar, it’s also a survey of who’s who.” That who’s who includes Carl Andre, Sol Lewitt, William Kentridge, Allan Kaprow, and Marcel Duchamp, among others.
Wait, what? Heidi Schwegler is making work with the son of Rowdy Roddy Piper? My brain seized up for a second there. And then I was just plain intrigued mostly because when I think of Schwegler, I don’t think of grand gesture, either physical or psychological, and yet that’s what I think the gallery text below is saying we should expect. Schwegler is a talented artist whose work you’ve seen recently as part of the Portland 2010 Biennial and the Call + Response show at the Museum of Contemporary Craft and who was one of the first three Hallie Ford Fellows. Maybe this makes me think about the rest of her work in a whole new way, kind of a Nan Curtis psycho-object kind of way. Hmm.
Melis van den Berg’s “Untitled” fills the entire first gallery at the White Box (70 NW Couch), shoving gallery director Elizabeth Lamb’s desk into a corner under this massive cardboard structure that looks like a model of a flying saucer. It’s dramatic, formally beautiful, appropriately architectural for this gallery in the building that houses U of O’s architecture program. “Untitled” is all about the space of the gallery, what’s in it (it includes, is propped up on, gallery furniture), and how we interact with/in it.
On the back cover of the 100+ page catalogue for the exhibition Hard Cover at Car Hole Gallery (114 SE 12th) is a giant cross, two lines hastily drawn with a wide black marker that is running out of ink. These two lines serve as a kind of documentation for one of the two covers by artist Jacob Kassay (NY) of minimalist works by Fred Sandback that make up the show.