Please join us for the opening of American Raw by David Keller.
In late summer of 2012, David Keller was shooting a roll of black and white film when he ran out of subjects to photograph. Wanting to finish the roll to see his images, he came up with a plan. David quickly rushed to a friend’s studio in downtown Portland, Oregon armed with a slab of cardboard and a sharpie. He constructed a sign that read, “Free Portraits” and sat on the street corner. Over the next few days, he sat on street corners around town taking portraits of complete strangers, in exchange for only their name.
Moving to Brooklyn, New York and hundreds of portraits later, David is bringing his project back to Portland for the month of August.
Duplex is now accepting submissions for a group show of 2D work.
Please read submission guidelines before submitting any work.
Duplex will host along with Portland Audiences for Cultural Exploration (PACE), and Business for Culture and the Arts (BCA) a selection of work from Portland artists in the theme of Connectedness.
This show will run in conjunction with the PACE launch party and is one night only
September, 5th 7-10pm at Enso Winery
1416 SE Stark St, Portland, OR 97214.
Submission deadline is August 29th, 2014.
1. Each submission must include at least 2 images of the piece.
2. Please include contact information (name, address, email, phone).
3. All submissions must include a biography.
4. All submissions must include a artist statement.
5. All submissions must include pricing information, medium, and dimensions.
6. Each piece must be finished and wall ready and wired, no exceptions.
7. All artists must be present September 5th.
Please email the above to firstname.lastname@example.org
No more than 15 artists will be selected. Artwork that is selected must be dropped off at Duplex, 219 NW Couch St, Portland, OR 97209, by Tuesday September 2nd at 5pm.
For more information visit the PACE Facebook page.
Other sponsors for this event include: Tell It Slant Reading Series, Enso Winery, and ArtMax Academy.
This event is free and open to the public.
I met Cathy on one of my first days of grad school, fell in love with her work and have been following her career ever since. So it’s with great pleasure that we share a little bit more about Cathy and her work and can’t wait to have her join us for the month of July!
Duplex: Tell us how the concept of Bad Fruit progressed.
Cathy Lu: In traditional Chinese imagery, you always see fruits – peaches, apples, etc, and I was always curious about this imagery – what it meant or represented. Many of the fruits in this imagery were usually tied to prosperity and longevity, and many of these ideas are very much tied to gender and a historic preference of males over females. I think a similar thing happens in American culture, where there are definitely gender expectations. Girls are usually compared to being ‘sweet/ sweet as a peach.’ Bad Fruit, or fruit gone bad is like my version of ‘girls gone wild.’
Read More «In the Studio – Cathy Lu»
When I was asked to stake my side in this debate I chose the OUTside, and at the end of the debate I’m still on the OUTside, and while I’ve been rethinking my answer since then I think I’m still on the OUTside. BUT, the debate, Fighting Words hosted by Ariana Jacob as part of Assembly: An Art and Social Practice Get-together, seriously challenged why I think this, and made me realize that my position in the debate has everything to do with my role in the art world.
Social practice is the kind of art critics, curators, and historians all love-to-hate to define. So ephemeral! Much engaged! Wow, dialogical! But for real, social practice is art that deals with social relationships and/or socio-political issues through performance based interventions that are historically rooted in Institutional Critique and revolutionary rhetoric. Despite its genealogy we’re all still grappling with what it is, and what is its significance – alone, in a dark closet. Not the awkward excitement when you’re playing 2min in the closet; more like the fumbling with film in a darkroom.
Jokes aside, what I took away most from being a part of the debate, including staking my position with a yellow card and making a stuttering closing statement on behalf of the OUTside, regards the role and relative power of museums, and the role and relative power of critique. First, when I say “museum” you probably think of a large institution like The Met, MOMA, or the Louvre, but as Phaedra Livingstone emphasized, the size and the power these intuitions yield are anomalies. Most museums DON’T have significant collections, budgets, or space. In that regards our own PAM exerts an influence belied by Portland’s notion of itself as a regional city. Read More «Does Social Practice Belong in Art Museums?»