Namita Gupta Wiggers--Making Space: Museums and Craft in the Twenty-First Century
Namita Gupta Wiggers will be presenting at The Mr. and Mrs. Raymond J. Horowitz Foundation Seminar in New York and American Material Culture on Tuesday, February 2, 2016, from 6 to 7:30pm, at the Bard Graduate Center in New York City. Her talk is entitled “Making Space: Museums and Craft in the Twenty-First Century.”
Namita Gupta Wiggers is a writer, curator, and educator based in Portland, Oregon. She is the Director and Co-Founder of Critical Craft Forum, an online and onsite platform for exchange that offers real-time conversations about issues in the field (criticalcraftforum.com). Wiggers teaches in the MFA Applied Craft + Design program, co-administered by the Oregon College of Art + Craft and the Pacific Northwest College of Art. From 2004 to 2014 she served as Director and Chief Curator at the Museum of Contemporary Craft in Portland, Oregon. Wiggers contributes to online and in-print journals and books, and serves as the Exhibition Reviews Editor for The Journal of Modern Craft. Her current projects include: Across the Table, Across the Land with Michael Strand for the National Council on Ceramic Education in the Arts; a textile-focused exhibition at the Wing Luke Museum of the Asian Pacific American Experience in Seattle; a Maker Space project at the Patricia and Phillip Frost Museum of Science in Miami; and the forthcoming Companion to Contemporary Craft with Wiley Blackwell Publishers.
At Bard Graduate Center, Wiggers will speak on “Making Space: Museums and Craft in the Twenty-First Century.” In the past decade, we have witnessed significant shifts in how craft is examined, interpreted, documented, practiced, and exhibited. During this time, more craft-focused institutions in the United States opened or renewed their missions than in any decade since industrialization. Making space for craft can be more than simply adding exhibitions, collections, or programs to existing models, rather it is an opportunity to rethink the museum itself. Using examples from past exhibitions at the Museum of Contemporary Craft as well as current projects, Wiggers will discuss how exhibition-making operates as a research and development platform for rethinking craft, with a focus on the challenges and strengths of smaller museums located outside of major urban centers.
Portland Garment Factory
Portland Garment Factory (PGF) is an independent, lady-owned, garment manufacturer in Portland, Oregon. As a full-scale factory, PGF provides a range of services from patternmaking and sourcing to sample construction and full-line production. These services are offered with low minimum orders and the capacity for high-volume production, making PGF an ideal manufacturer for both large-scale companies, as well as independent designers. In 2012, PGF launched HouseLine, a conceptual women's wear line designed and produced in-house and sold throughout the United States and abroad.
Process/Progress, an exhibit organized by Portland Garment Factory, will be on view in the Lab of Museum of Contemporary Craft May 9 - October 11, 2014.
Megan Melsoh, Documentation of the Tool at Hand PDX Challenge, 2013
What would it be like to create a work of art using only one tool?
In the spring of 2011, the Chipstone Foundation, Milwaukee Art Museum, and curator Ethan Lasser invited 14 makers from the United States and the United Kingdom to break from their usual practices and make a work of art using only one tool. For a group of artists who are accustomed to working with extensive kits that include all manner of analog and digital tools, this commission presented a thought-provoking challenge. The Tool at Hand, on view at Museum of Contemporary Craft (MoCC) through January 11, 2014, presents these finished works alongside the tools used to create them and short videos produced by each artist.
In conjunction with The Tool at Hand, MoCC invited students currently enrolled in BFA and MFA programs at Pacific Northwest College of Art (PNCA) and Oregon College of Art and Craft (OCAC) to apply for The Tool at Hand PDX Challenge, which tested the skills and creativity of emerging artists by similarly asking them to create work of art using only one tool. The projects created by the ten awardees of this unique juried challenge are currently displayed in the Community Showcase Gallery and Lab, and the works of art will remain on view through final weeks of The Tool at Hand at MoCC.
Featured Artists:
Stephanie Brachmann, PNCA
Ivan Carmona, OCAC
Christian Donnelly, PNCA/OCAC
John Dougherty, PNCA
Danielle Foushee, PNCA
Mario Gallucci, PNCA
Natalie Jenkins, OCAC
Alyssa Kail, PNCA/OCAC
Megan Mesloh, OCAC
Jesse Taylor, OCAC
The Community Showcase and Lab exhibits outstanding community artwork and featured partnership projects. The Tool at Hand Challenge was organized by Sarah Margolis-Pineo, Associate Curator, MoCC, with assistance from Brian Hutsebout, MFA Candidate, Applied Craft + Design, a joint program of PNCA and OCAC.
10 best things to do in Portland, Oregon
Tips on the best things to do in Portland from a 10Best Local Expert.
For a medium-sized city, Portland is bursting with art and culture and offers visitors of all ages a multitude of attractions.
With its temperate climate and lush greenery, Portland, Oregon is a great city for outdoor enthusiasts. The many gardens scattered throughout the city show off the wide array of flora that thrive here, as well as some of the most beautiful garden design in the country. The Chinese Garden is nationally recognized for their adherence to tradition as well as the creative beauty of their constructions. The International Rose Test garden is famous for their 400+ varieties of roses. Then there is Tom McCall Waterfront Park, home of the Portland Saturday Market, that is recognized as one of the best green spaces in a city within the United States.
Beyond gardens Portland is home to a thriving art scene, Portland's Art Museum offers an impressive collection of classic and contemporary exhibits from cultures spanning the globe. Anyone who enjoys books will marvel at Powell's, one of the world's largest and most comprehensive books stores that over time has become a Portland landmark of sorts. The Oregon Zoo is extremely impressive with thousands of animals. For a medium-sized city, Portland is bursting with art and culture and offers visitors of all ages a multitude of attractions both entertaining and edifying.
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Portland Vintage | Stars Antiques Mall | Strumpets Crumpets
Portland vintage shopping at Stars Antiques Malls at 7027 SE Milwaukie Ave after a tasty breakfast at Strumpets Crumpets located at 7414 SE Milwaukie Ave. What could be better than vintage shopping and tasty crumpets in Portland? Beth and I enjoy vintage shops in Portland and whenever we travel. Join us for a fun day of vintage shopping and crumpets in Portland, Oregon.
Stars Antiques Malls
7027 SE Milwaukie Ave
Portland, Oregon 97202
Strumpets Crumpets
7414 SE Milwuakie Ave
Portland, Oregon 97202
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Manuel Neri 曼努埃爾·內里 (1930) Abstract Expressionism Neo-Expressionism American
tonykwk39@gmail.com
Manuel Neri (1930), American sculptor, educator. Recipient 1st Award in Sculpture Oakland Art Museum, 1953, National Art Foundation award, 1965, award San Francisco Art Institute, 1963, award in art American Academy and Institute Arts and Letters, 1982, award of merit in sculpture San Francisco Arts Commission, 1985; Guggenheim fellow, 1979; National Endowment for the Arts grantee, 1980.
Neri, Manuel was born on April 12, 1930 in Sanger, California, United States. Son of Manuel and Guadalupe (Penilla) Neri.
Student, San Francisco City College, 1950. Student, University California, Berkeley, 1952. Student, California School Arts and Crafts, 1957.
Student, California School Fine Arts, 1959. Doctor (honorary), San Francisco Art Institute, 1990. Doctor (honorary), California College Arts and Crafts, 1992.
Doctor (honorary), Corcoran School Art., Washinton, 1995.
Member faculty art California School Fine Arts, San Francisco, 1959—1965. Professor art University California, Berkeley, 1963—1964, Davis, 1965—1990.
One-man shows of sculpture, from 1957, recent exhibitions include, Oakland Museum Art, Oakland, California, 1976, Western Association Art Museum Travelling Exhibition, 1980-1983, Seattle Art Museum, 1981, Charles Cowles Gallery, New York City, 1981, 82, 86, 89, 93, 95, 97, 2002, 2003, Middendorf Gallery, Washington, 1983, 84, Gimpel-Hanover & Andre Emmerich Galerien, Zurich, Switzerland, 1984, San Francisco Museum Modern Art, 1989, Dia Center for the Arts, Bridgehampton, New York, 1993, 1997, Corcoran Gallery Art, Washington, District of Columbia, 1997, Palm Springs (California) Desert Museum, 1998, Riva Yares Gallery, Scottsdale, Arizona, 2002, 05, Hackett Freedman Gallery, San Francisco, 2001, 2003, 05, Fresno (California) Art Museum, 2005. Numerous group shows, from 1955, including San Francisco Museum Modern Art, 1980, 83, 84, 85, 86, American Academy Arts and Letters, New York City, 1981, 82, 84, Oakland Museum (California), 1982, 84, 85, Seattle Art Museum, 1983, 84, Institute Contemporary Art, Richmond, Virginia, 1983, Hirshhorn Museum, 1984, Contemporary Arts Center, Cincinnati, 1985, Museum Fine Arts, Houston, 1987, Bronx Museum Arts, 1988, Whitney Museum, New York, 1992, 95, The White House, Washington, District of Columbia, 1994, 99, Museum Moderner Kunst, Vienna, 1997, Isetan Museum, Japan, 1999. Represented in permanent collections: Oakland Museum, Seattle Art Museum, San Francisco Museum Modern Art, Honolulu Academy Arts, Des Moines Arts Center, also numerous private collections including Verlaine Foundation, New Orleans, Bank American Corporation, San Francisco, Lannan Foundation, Los Angeles, Portland (Oregon) Art Museum, Fine Arts Museum San Francisco, California, San Jose (California) Museum Art, others.
Manuel Neri（1930），美國雕塑家，教育家。 1953年雕塑奧克蘭美術館獲得者第一獎，1965年國家藝術基金會獎，1963年舊金山藝術學院獎，美術學院和藝術與文學獎，1982年，雕塑舊金山藝術委員會獎，1985年;古根海姆研究員，1979年;國家藝術基金會授予者，1980年。
Neri，Manuel出生於1930年4月12日，在美國加利福尼亞州的桑格。曼努埃爾和瓜達盧佩的兒子（Penilla）Neri。
學生，舊金山市立學院，1950年。學生，加州大學伯克利分校，1952年。學生，加利福尼亞州工藝美術學院，1957年。
學生，加利福尼亞州美術學院，1959年。博士（榮譽），舊金山藝術學院，1990年。加州大學工藝美術學院博士（榮譽），1992年。
博士（榮譽），科克倫學校藝術，華盛頓，1995年。
加州藝術學院藝術學院，舊金山，1959-1965年。 1963-1964年加州大學伯克利分校教授，Davis，1965-1990。
雕塑的一人展覽，從1957年開始，最近的展覽包括奧克蘭博物館藝術，加州奧克蘭，1976年，西方協會藝術博物館旅遊展覽，1980 - 1983年，西雅圖美術館，1981年，查爾斯·考勒斯畫廊，紐約市，1981年，82，86，89，93，95，97，2002，2003，Middendorf Gallery，Washington，1983，84，Gimpel-Hanover＆Andre Emmerich Galerien，蘇黎世，瑞士，1984年，舊金山博物館現代藝術，1989年，藝術學院，Bridgehampton，紐約，1993年，1997年，科羅倫美術館，華盛頓哥倫比亞特區，1997年，棕櫚泉（加利福尼亞州）沙漠博物館，1998年，Riva Yares畫廊，亞利桑那州斯科茨代爾，2002年，05年，Hackett Freedman畫廊，舊金山，2001年，2003年，05年，弗雷斯諾（加利福尼亞）藝術博物館，2005年。眾多小組展示了從1955年，包括舊金山博物館現代藝術，1980年，83,84,85,86，美國藝術和文學，新約克市，1981年，82年，84年，奧克蘭博物館（加利福尼亞），1982,84,85，西雅圖藝術博物館，1983年，84年，研究所弗吉尼亞州立大學1983年，希爾霍恩博物館，1984年，辛辛那提當代藝術中心，1985年，休斯敦博物館美術學院，1987年布朗克斯博物館藝術學院，惠靈頓博物館，紐約，1992年，95年，白宮，華盛頓哥倫比亞特區，1994年，99年，維也納博物館，維也納，日本伊勢丹博物館，1999年。代表永久收藏：奧克蘭博物館，西雅圖藝術博物館，舊金山博物館現代藝術，檀香山學院藝術，德梅因藝術中心，還有許多私人收藏，包括Verlaine基金會，新奧爾良銀行美國公司，舊金山，蘭南基金會，洛杉磯，波特蘭（俄勒岡州）藝術博物館，舊金山美術館，加利福尼亞州聖何塞（加利福尼亞）博物館藝術，其他。
Introducing the World Forestry Center
Located in Portland, Oregon, the World Forestry Center is a non-profit educational institution that operates a museum, demonstration forests and an international fellowship program
Keller Foundatain Park, Portland Oregon
Art in the Pearl - Portland Series
Art in the Pearl is an annual fine arts and crafts festival held in Portland, OR at the Northwest Park in the Pearl District
Portland Video Diaries: Andina
Checkout the amazing Peruvian food at Andina, located in the Pearl district of Portland, Oregon.
LCVP HIGGINS BOAT 1944 U.S. NAVY LANDING CRAFT TRAINING FILM 81614
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This film about the LCVP provides an introduction and look at the nomenclature (00:44) of systems aboard these vessels. The film dates to 1944. LCVP is short for Landing Craft, Vehicle-Personnel, also known as a Higgins boat (named after its creator Andrew Higgins). The film begins by detailing the stats of the LCVP while showing footage of LCVPs skipping along the water then landing on shore (02:11), where they unload soldiers (02:15), vehicles (02:23), and cargo—such as ammunition (02:35). LCVPs are a crucial part in land-sea operations, which can involve ships as well as aircraft, such as dirigibles (03:04). The LCVP’s exterior construction details are recounted while one of the vessels is suspended by a crane (03:17), allowing the viewer to see every part of the boat, including the scuffle boards (03:53) and the keel-like skeg (04:01). That is followed by a look at the interior of the LCVP (05:08), covering the layout. This overview also briefly discusses the engine, engine controls, and how to operate the LCVP (05:37). The film then shows some of the features of the boat, such as the electric compass repeater (07:12), the adjustable wheel (07:23), and the gun pits in the decked-over aft, called the transom (08:21). Next, the film reviews the essential equipment the LCVP is stocked with (09:33). After covering the boat and necessary gear, the film explains the members and roles of the crew (12:03): the coxswain, engineer, sternman, and bowman. The film ends with the bowman and engineer releasing the ramp and troops deploying onto a beach (13:09), followed by the sternman acting as the signalman (13:47).
The landing craft, vehicle, personnel (LCVP) or Higgins boat was a landing craft used extensively in amphibious landings in World War II. The craft was designed by Andrew Higgins based on boats made for operating in swamps and marshes. More than 20,000 were built, by Higgins Industries and licensees. Typically constructed from plywood, this shallow-draft, barge-like boat could ferry a platoon-sized complement of 36 men to shore at 9 knots (17 km/h). Men generally entered the boat by climbing down a cargo net hung from the side of their troop transport; they exited by charging down the boat's bow ramp.
At just over 36 ft (11 m) long and just under 11 ft (3.4 m) wide, the LCVP was not a large craft. Powered by a 225-horsepower Diesel engine at 12 knots, it would sway in choppy seas, causing seasickness. Since its sides and rear were made of plywood, it offered limited protection from enemy fire. The Higgins boat could hold either a 36-man platoon, a jeep and a 12-man squad, or 8,000 lb (3.6 t) of cargo. Its shallow draft (3 feet aft and 2 feet, 2 inches forward) enabled it to run up onto the shoreline, and a semi-tunnel built into its hull protected the propeller from sand and other debris. The steel ramp at the front could be lowered quickly. It was possible for the Higgins boat to swiftly disembark men and supplies, reverse itself off the beach, and head back out to the supply ship for another load within three to four minutes.
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This film is part of the Periscope Film LLC archive, one of the largest historic military, transportation, and aviation stock footage collections in the USA. Entirely film backed, this material is available for licensing in 24p HD, 2k and 4k. For more information visit
Native American Artist Series: Lillian Pitt
Lillian Pitt is an accomplished artist who has been exhibiting her contemporary sculpture, carvings, masks, glass, wearable art, and works on paper for over twenty years. One of the indigenous people of the Columbia River Gorge, she is called by her Indian name, Wak'amu (Strongly Rooted), by elders of the Warm Springs/Wasco and Yakama tribes. The term might also describe her art, for although her approach to form and materials is eclectic and contemporary, her intriguing metaphors are always rooted in her Native American tradition. She says this about her work: I use the ancient stories of my ancestors as a basis for the imagery I create. By doing this I maintain the memory of an ancient culture and keep the beliefs of my people alive. We have forgotten how to live in harmony with nature. Accessing this vast reservoir of traditional information and translating it into contemporary terms jogs our memories and provides points of reference to achieving balance within ourselves, our community and the world. My ancestors have a 10,000-year history in the Columbia River Gorge. Much of my work has to do with the preservation and care of the environment along this ancient waterway.
Lillian is pleased to announce that she has won the Earle A. Chiles Award for 2007. Established in 1983, this is a $15,000 award given annually by the High Desert Museum to an individual for accomplishments in promoting thoughtful management of the natural and cultural resources of the Intermountain West. The award acknowledges Lillian for creating images that sustain ancient Columbia Plateau cultures and beliefs, and for promoting harmony within people, communities and nature.
Lillian Pitt was also the recipient of the Governor's Award of the Oregon Arts Commission in 1990, which declared that she had made, significant contributions to the growth and development of the cultural life of Oregon. She is known nationally and internationally for her Raku and Anagama fired ceramic and bronze masks and Shadow Spirit totem images based on traditional symbols and spirits of her Columbia River ancestors. Her repertoire has expanded to include monumental bronze sculpture, sometimes reflecting the theme of Salmon migration. One recurring image, She Who Watches, is based on a Columbia River petroglyph which represents the last of the Woman Chiefs. Seen in multiple medias, she makes tributes to She Who Watches.
Lillian's art has been exhibited and reviewed in the U.S., Europe, New Zealand, and Japan. Her work has been commissioned by numerous museums and organizations and is in several collections, including the University of Washington's Burke Museum, the Sapporo City Hall, Sapporo, Japan and the prestigious Heard Museum in Phoenix, AZ. A traveling retrospective of her work, Spirits Keep Whistling Me Home, was launched in 1999 at the Museum at Warm Springs on her native reservation in Oregon and has been exhibited at other museums nationwide. In May, 2007, her work received the Best in Show Award at the Second Annual In the Spirit Contemporary Northwest Native Arts Exhibit. The July - August 2007 issue of Native Peoples Magazine features Lillian and one of her cast glass masks on the cover.
With the turn of the millennium, Lillian's art took on an even larger dimension, as she and a team of Native American artists were commissioned by the city of Portland, OR, the Oregon Convention Center, Portland State University, City of Hillsboro, Central Oregon Community college in Bend, and a variety of other municipalities, cultural institutions, and corporations to create public art projects. She welcomes these opportunities to share her Native American heritage and her ecological commitment with an expanded audience.
Oregon Maritime Museum Highlights in Portland Danny Hauger Travel Podcasts
Danny Hauger Travel podcasts steps aboard the sternwheeler Portland, the last operating steam-powered sternwheel tug in the United States. One look at the big wheel, and you will find yourself propelled to explore! I was, and Dave was a terrific docent for my journey. I was blown away by the extensive remodel of this vessel carried mainly by volunteer labor, the Portland community, and sponsors around the area. Seeing the support and love that this tug has received is quite moving. Enjoy some photos from my trip, and plan your next visit today.
Regular Hours: Weds, Fri & Sat 11am to 4pm
Tours take a minimum of 45 minutes; for this reason, the last tour begins at 3:15pm.
The museum is located on the Willamette River
near Waterfront Park southwest of Naito Parkway at Pine St,
Portland, Oregon
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Multnomah Falls, Bonneville Dam, Timberline Lodge, Portland, Oregon, USA
Random travel pictures from Oregon, USA. The slide show contains pictures of Multnomah Falls, Bonneville Dam, Timberline Lodge, Portland Japanese Garden and Lan Su Chinese Garden.
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Roma in America: Why Europe’s Most Discriminated Group Is Coming To The US...
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Higgins Boat
The Landing Craft, Vehicle, Personnel (LCVP) or Higgins boat was a landing craft used extensively in amphibious landings in World War II. The craft was designed by Andrew Higgins of Louisiana, United States, based on boats made for operating in swamps and marshes. More than 20,000 were built, by Higgins Industries and licensees.
Typically constructed from plywood, this shallow-draft, barge-like boat could ferry a platoon-sized complement of 36 men to shore at 9 knots (17 km/h). Men generally entered the boat by climbing down a cargo net hung from the side of their troop transport; they exited by charging down the boat's bow ramp.
Warships
C-SPAN Cities Tour - Santa Fe: Museum of Indian Arts and Culture
See Native American Art and Artifacts from New Mexico as we visit the Museum of Indian Arts and Culture.
Visit:
The Artist's Salon: Three Master Artists
The work seen is this video can be viewed at the Hesperidian Gallery. If you are interested in purchasing some of the work or viewing the gallery, please contact Jane Morson at janemorson@hesperidianproductions.com
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The Artist's Salon:
Three Master Artists
Directed by Jane Morson
Cinematography by Mark Wessling and Halim Chambers
Edited by Kyle Thomas
Music by Gregory Smith
Special thanks to:
Bill Moran
Hatlestad Studio
Larry Zgoda
This motion picture is protected under the laws of the
United States and other countries.
Unauthorized duplication, distribution or
exhibition may result in civil liability and criminal prosecution.
©2011 Hesperidian Productions Inc. All Rights Reserved.
LECTURE: Maribeth Graybill, Ph.D. - October 20, 2019
Asian Art in Portland: Past and Future
Maribeth Graybill, Ph.D., The Arlene and Harold Schnitzer Curator of Asian Art
Dr. Graybill looks back at 12 years of curating Asian Art at the Museum, reflecting on key moments. She will share her favorite acquisitions and memories of special programs, including artist talks and the festivities surrounding the repatriation to Korea of an important Buddhist painting. After revealing how behind-the-scenes activities have transformed the way the Museum cares for Asian art, she will consider some of the possibilities and challenges that lie ahead.
LECTURE: Jeannie Kenmotsu, Ph.D. - September 5, 2019
Japanese Prints Abroad in Portland: The Mary Andrews Ladd Collection
Jeannie Kenmotsu, Ph.D., Japan Foundation Assistant Curator of Japanese Art, Portland Art Museum
Japanese woodblock prints were met with an enthusiastic audience abroad in the late-19th and early-20th centuries. In Europe and the United States, tens of thousands of prints were bought and sold, exhibitions and record-breaking auctions staged, and a new passion kindled for private collectors. Most of what we know about early American print collecting has been focused on the East Coast—donations that were the basis for the world-class museum collections in Boston, New York, and Chicago. Lesser-known but just as significant was the donation of the Mary Andrews Ladd collection of Japanese prints to the Portland Art Museum in 1932. Drawing on the Museum’s archives, period records, and the collection itself, this lecture explores this transformational gift of nearly 750 Edo-period (1603–1868) woodblock prints, and expand the story of early Japanese print collecting in the United States.
Co-sponsored by the Asian Art Council.