Tag: pigment print

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Daily Art Moment: Valentine’s Day

Sage Sohier, Gordon and Jim with Gordon’s Mother Margot, 1987, pigment print, 15 9/16 x 23 in. horizontal b&w photo with hot flash depicting 3 figures seated on a floral couch, the central male with his right arm around the elderly woman and left arm reaching out to male seated further away who is grasping it in both hands.

The Feast of St. Valentine’s Day has been celebrated in many different ways for well over a thousand years. No matter how you may feel about our contemporary version of Valentine’s Day, which tends to center romantic love, this can be a helpful reminder that love and connection are critical to our humanity. Photography has…  Read more

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Write Around PAM: Jonathan Calm

Image description: Double Vision (Record), Jonathan Calm, pigment print. A vertical rectangular photograph of man using a camera on a tripod near an oceanside cliff. The man is seen from the side, his camera pointed to the left. The camera has a large black bellows attached to a lens and stands on light-colored wooden tripod legs. The man is mostly concealed under a dark cloth with only his bare legs and the fingers of one hand visible. He is dark skinned and barefoot. He stands on rough, brown ground with cliffs and the ocean behind him. The upper half of the photo contains a pale blue sky.
Jonathan Calm (American, born 1971) Double Vision (Record), 2018, pigment print, Portland Art Museum, Museum purchase: Photography Fund, 2020.25.2

This photograph from Jonathan Calm offers a unique glimpse behind the camera, a chance to see the artist at work. As we celebrate Father’s Day today, we invite you to reflect on someone “behind the scenes” in your life who offers you support, care, guidance, and inspiration. Someone who embodies the caring support of fatherhood…  Read more

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Write Around PAM: Catherine Opie

Image description: Untitled #1 (Yosemite Valley), Catherine Opie, pigment print. A portrait oriented, color photograph of a distant waterfall and mountain range framed by evergreen trees. The photograph is out of focus, giving it a painterly quality. At center is a waterfall emanating from a mountain ridge near the top of the image. The colors are faded beiges and white. Evergreen trees flank both sides of the waterfall. Beginning at top right and continuing on a slant to near center bottom, a block of dark evergreen trees creates a deep V shape framing the waterfall and continuing in a wispy fashion on the left edge of the photo. A pale blue sky completes the composition.
Catherine Opie , Untitled #1 (Yosemite Valley), 2015 Photograph, pigment print 2018.2220, Museum of Fine Arts, Boston. Stephen D. and Susan W. Paine Acquisition Fund for 20th century and Contemporary Art, © Catherine Opie, Courtesy of Regen Projects, Los Angeles and Lehmann Maupin, New York and Hong Kong. Courtesy, Museum of Fine Arts, Boston.

How can we bring new understanding, new light to something we already know so well? Catherine Opie’s Untitled #1 (Yosemite Valley) offers us a place to start. Opie’s photography gives us new ways of seeing iconic landscapes. We invite you to spend some time today writing with this photograph and discovering what comes up for…  Read more

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Daily Art Moment: Jonathan Calm

Double Vision, Jonathan Calm, pigment print. A vertical rectangular photograph of man using a camera on a tripod near an oceanside cliff. The man is seen from the side, his camera pointed to the left. The camera has a large black bellows attached to a lens and stands on light colored wooden tripod legs. The man is mostly concealed under a dark cloth with only his bare legs and the fingers of one hand visible. He is dark skinned and barefoot. He stands on rough, brown ground with cliffs and the ocean behind his. The upper half of the photo contains a pale blue sky.

In the self-portrait Double Vision (Record), artist Jonathan Calm assumes the position of past and present-day landscape photographers—standing under a dark cloth, using a large-format view camera. He poses in the act of creating an image of the California coastline, a site long favored by revered “masters” of photography like Ansel Adams and Edward Weston.…  Read more

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Daily Art Moment: Don Unrau

From the portfolio War Story: Vietnam Veterans, Don Unrau, 13 5/16 x 14 1/8 inches, pigment print. A horizontal, rectangular, black and white photo positioned on the top half of a vertical white rectangle. The photo shows a white man sitting in an armchair, facing the viewer with legs crossed at the knee. He looks directly at the viewer with a neutral expression. He has dark hair and full beard, wears a white shirt and jeans. Behind him is the interior of a home with plants, dining room table and chairs and a kitchen seen through a doorway. Below the photo is a poem in the man’s own handwriting. It reads: Nam means loss. Nam means terror. /Nam means pride. Nam means courage. / Nam means rejection. Nam means betrayal. / “Coming home” means tears. “Coming home” means grief. / “Coming home” means sadness. “Coming home” means relief. / All will continue to be lived & to be remembered. / Forgiveness is the final battle!

Don Unrau served as a U.S. Army Combat Medic in Vietnam. He made his first photographs during the war, and has concentrated his photographic attention on veterans, conflict, and the aftermath of war ever since. Between 1984 and 1989, he invited Vietnam War veterans to express personal reflections—handwritten thoughts, poems, prayers, and essays about their…  Read more

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Dail Art Moment: Jonathan Calm

Crater Lake Lodge, Jonathan Calm, pigment print. A horizontal rectangular, black-and-white photo of the Crater Lake Lodge buildings and its driveway entrance. The top half of the photo features the lodge seen from one end and running diagonally back and across the photo’s middle ground. The buildings that compose the lodge are faced in light-colored stonework from the ground to just above door height with dark cladding finishing the rest of the structures. Rows of white-paned windows dot the attached buildings that are of varying heights. To the left of the lodge is a rocky hilltop with sparse vegetation and to the right are several evergreen trees. The bottom half of the photo shows the expansive blacktop driveway that extends out from the lodge entrance and to each side. At bottom center is the photographer's shadow, shown from chest up. At center far right, shrubbery backs a wooden sign mounted on a stone platform. The sign reads: ”Crater Lake Lodge”.

“In 2016, Jonathan Calm, artist and Stanford University Assistant Professor of Photography, traveled through the American South by car. He documented many of the locations marked as ‘safe spaces’ in ‘The Negro Motorist Green Book,’ which was published from 1936 through 1966. Recently, Calm began photographing ‘Green Book’ sites located in the American West, including…  Read more

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Daily Art Moment: Buzzy Sullivan

North Fork Toutle River through smoke from the Diamond Creek wildfire, approximately six miles northwest of Mount St. Helens, Buzzy Sullivan, 25 ½ x 31 ½ inches, archival pigment print. A photograph taken at great height looking down on a landscape that is brown and dry with pockets of green vegetation and hazy with smoke. A dry, horizontal riverbed is seen beginning at the middle of the photo traveling left to the edge of the print. It cuts down and back towards the center and ends at bottom center divided into a fork. The riverbed reveals layers of eroded earth giving a terraced and jagged appearance. The surrounding landscape is mostly cocoa browns, with lighter shades of tan and rusty reddish tones. There are clusters of dark brownish-green trees and shrubs near the river’s banks. Lone trees and brush dot the scene as well. In the upper third of the print, sloping cliff faces and low lying mounded hills stretch to the top of the print. These appear hazier further in the distance. The upper right corner suggests the heaviest area of smoke with the distant mountains appearing through a thick haze of beige smoke. The foreground, at the bottom of the print, shows the depth of the forked riverbed in deep shadow with no discernible water flowing. A large, dark fissure juts off to the lower right.

Our thoughts are with the one-tenth of Oregon’s population displaced and affected by wildfires. “The smoke and strange light currently blanketing the landscape brought to mind this photograph on view in our exhibition Volcano! Mount St. Helens in Art. It shows nature rebounding in the Toutle River Valley thirty-seven years after the area was scoured…  Read more

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Daily Art Moment: Lorenzo Triburgo

A vertical rectangular portrait of a masculine-presenting individual shown from the midsection up. The figure is positioned to face the viewer or artist and their head is turned to the left. They have light skin, dark short hair, a mustache, and beard stubble. They wear metal aviator-style eyeglasses and a red short-sleeved t-shirt with the sleeves rolled up. The figure’s bare arms show several tattoos. The upper arm at left has the words “MOM” and “DAD” within a heart design and another is of an insect. On the figure’s forearm at right, part of a bird tattoo is visible. The background is slightly out of focus and depicts large, jagged, snow-covered mountain peaks in blues and whites. Below the mountains are pine trees and dark foliage.

“I began ‘Transportraits’ when I came out as TransQueer in 2008—a time before the proliferation of trans representations we see in dominant media today (for better or worse) and before any kind of ‘tipping point.’ I felt the need to create positive representations of trans-masculinities and to address the false notion of gender as ‘natural’…  Read more

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Daily Art Moment: Wendy Red Star

In this photo, a female figure stands at the left wearing an embellished gold tunic, leggings, and shoes, her hands on her hips, and a huge feather headdress that obscures the face. Her legs cross one in front of the other, toes pointing out in a dancer’s pose. Gold jingles in conical shapes hang in horizontal rows for the full length of the textured tunic. Full, puffy sleeves end at the elbow, continuing to the wrist in a fitted fashion. The headpiece features black-tipped, white feathers splaying out from the crown, allowing some feathers to be viewed end to end. The top half of the face is covered by the feathers, the lower half and neck is coated in gold glitter. Long black hair extends from the head dress to below the shoulders. Gold, smooth leggings and gold ballet slippers complete the outfit. In the background, oversized planets fill the space. At right, an enormous muted grayish green, rough textured planet with a bright orange ring dominates the picture. A bright white object peeks out from behind the large planet at its top left, shooting rays of white light outward. A faint red-orange circle surrounds the light object, overlapping the huge planet’s edge. At far left top, another planet, mostly in dark shadow fills the corner of the photo. Its color ranges from almost black in the shadow to rusty browns. Beyond the planets the sky is depicted in a deep inky black with a multitude of tiny white dots representing stars. The gold clad figure stands on a craggy stretch of rock that protrudes into the photo from the bottom left edge towards the center of the photo.

“As we face uncertainty about our lives in the wake of a pandemic, I find comfort in works by Native artists who create visions of a future where traditional knowledge and culture continue to thrive. Crow artist Wendy Red Star created a photography and fashion series, Thunder Up Above (2011) which imagines this presence in…  Read more