Art Gym Artist Talk and Panel Discussion, November 20, 2017 

Please join us for a gallery talk with exhibiting artists from Symmetry Breaking. Curator Blake Shell will participate in a conversation with artists Jovencio de la Paz, Anya Kivarkis, and Emily Nachison about their work as it intersects with craft materials or processes. 

Monday, November 20 at 2:00pm.

Art Gym
Marylhurst University
17600 Pacific Highway (Hwy. 43)
Marylhurst, OR 97036-0261
www.theartgym.org

Disjecta Contemporary Art Center Auction, November 18, 2017

This year I will be donating work to "Art First" the annual Disjecta Contemporary Art Center auction. 

Auction proceeds assist Disjecta to continue providing the community with contemporary visual art free public programming. Your ticket to Art First gets you into a great party filled with lively people, free food and drink. Disjecta is partnering with organizations to allow at-risk youth interested in art to attend our auction. p:ear will provide tickets to homeless and transitional young people and Latino Network will give tickets to Latinx youth. If you can’t attend the auction (or even if you can and would like to extend your support): just purchase a “give-back ticket”. The ticket will be passed along to a young art enthusiast. 

Saturday November  18, 2017
6:00pm - Member preview & champagne toast, Buy-it-now sections open
7:00pm - Check-in
8:30pm - Live auction
10:00pm - After-party (cash bar) Location TBA

Disjecta Contemporary Art Center
8371 N Interstate Avenue
Portland, OR 97217
www.disjecta.org

'Millennial pink' meets art in 'Symmetry Breaking' exhibit at Marylhurst. Review by Briana Miller for the Oregonian/OregonLive

'Millennial pink' meets art in 'Symmetry Breaking' exhibit at Marylhurst. Review by Briana Miller.

"Pink is having a moment. From the ubiquitousness of Millennial pink across the design world to the pink knit “pussy hats” that became the symbol of the Women’s March on Washington in January, the color has seeped into the collective cultural consciousness.

So it may not be surprising that “Symmetry Breaking,” a group show of mostly new work by eight Pacific Northwest artists that opened this month at Marylhurst University’s Art Gym, seems to have a rosy cast. But, as is the case with the pink hats and even with Millennial pink, there’s an underlying seriousness to the work in this exhibition, which was curated by Blake Shell and launches the gallery’s 2017-2018 exhibition season.

Emily Nachison’s “Pony Girl (1)” continues this theme. Sitting jauntily in the center of the gallery, its lavender leather tack and flowing white “mane” evoke the candy-colored hues of My Little Pony toys. But the leather, which has been stretched and sewn over a heavy length of rope, is studded with dozens of silver piercing studs, lending it a subversive air."

Read the full article here: http://www.oregonlive.com/art/index.ssf/2017/10/breaking_symmetry_art_gym.html

Glass Alliance of Northern California Lecture, October 28, 2017

Lecture at the Glass Alliance of Northern California.

The Glass Alliance of Northern California (GLANC) is a non-profit organization that promotes the advancement of the glass arts in Northern California. GLANC's goal is to provide useful information to artists, collectors and students and promote glass art events in the Bay Area.

Saturday, October 28, 2017 at 1:00pm 

Bullseye Glass
4514 Hollis Street
Emeryville, California
www.glancinfo.org

Symmetry Breaking Exhibition, Art Gym, Marylhurst University

The Art Gym presents Symmetry Breaking, featuring eight contemporary visual artists from the Pacific Northwest: Emily Counts, Jovencio de la Paz, Jo Hamilton, Anya Kivarkis, Brenda Mallory, Kristen Miller, Emily Nachison, and Jane Schiffhauer. This exhibition, curated by Blake Shell, showcases the work of artists who engage or intersect with craft materials or processes. An opening reception will be held from 4-6 pm on October 1, 2017. An accompanying catalog, designed by Sibley House, will be released on December 10, 2017.

Since 1980, the Art Gym has been recognized as a venue that exhibits some of the most significant and timely art of this region. The mission of the gallery is to increase public understanding of the contemporary art of the Pacific Northwest through exhibitions, artists’ projects, publications, and public engagement. The Art Gym is a non-collecting, non-commercial gallery that supports artists in creating ambitious, risk-taking projects at key stages in their careers. As an art space working within an academic venue, we are dedicated to making knowledge accessible and committed to providing artistic and intellectual freedom. The Art Gym’s catalogs continue to be among the greatest records of Pacific Northwest contemporary art, contributing to the discourse on contemporary art and representing the region. 

Exhibition Dates: October 3 - December 10, 2017 (Closed Nov 10 - 11 and Nov 23 - 27)

Opening Reception: Oct 1, 2017 from 4-6pm

Catalog Release and Closing Event: Dec 10, 2017 from 4-6pm

Art Gym
Marylhurst University
17600 Pacific Highway (Hwy. 43)
Marylhurst, OR 97036-0261
www.theartgym.org

Artist Lecture at Bullseye Projects September 23, 2017

Please join me at Bullseye Projects on Saturday, September 23rd. I will be giving a lecture on my recent body of work as part of the closing reception for the "Transformations" exhibition. "Transformations" explores personal, natural, and metaphysical change; featuring work by Ligia Bouton, Kate Clements, Emily Counts, Emily Nachison, and Judy Tuwaletstiwa. "Transformations" is on view June 21 - September 30.

Saturday, September 23 at 1:00 PM - 2:30 PM

Bullseye Projects
300 NW 13th Avenue
Portland, OR 97209 USA

www.bullseyeprojects.com

Permeable Structure Exhibition Catalog on Issuu

The Permeable Structures exhibition catalog is now available to view on Issuu. The catalog documents the inaugural exhibition at the Byre, a new exhibition space located in northern Scotland. Permeable Structure brings together the work of Silvia Levenson, Emily Nachison, Michael Rogers, and Karlyn Sutherland. The exhibition draws from the landscape, deep history, and culture of Caithness, the northernmost county in Scotland. The catalog includes essays by: Tina Oldknow, retired senior curator of modern and contemporary glass at The Corning Museum of Glass (2000–2015); Lani McGregor, Director, Bullseye Projects and Partner, Bullseye Glass Co.; and Michael Endo, Curator, Bullseye Projects. 2017, perfect bound, 32 pages, color.

www.issuu.com

Transformations Exhibition, Bullseye Projects

Bullseye Projects presents a group exhibition exploring themes of personal, natural, and metaphysical change. Transformations will be on view June 21 – September 30, 2017 and will open in conjunction with BECon 2017, Bullseye Glass Company’s biennial conference. Transformations features the work of artists Ligia Bouton, Kate Clements, Emily Counts, Emily Nachison, and Judy Tuwaletstiwa

Mysterious in its creation, common in its application, and utopian in visions of the future, glass is rife with cultural, scientific, and metaphysical meaning. The glass we encounter is largely comprised of sand, soda ash, lime, and metallic oxides. These minerals are combined, melted and then cooled into a myriad of forms. The recipe is millennia old, but retains much of the magic that likely accompanied its first discovery. Sand is transformed into glass; it is a transformation that borders on the alchemical. A common material is made into something new with unique qualities that require a new category of matter: amorphous solid. Artists Ligia Bouton (New Mexico), Kate Clements (Pennsylvania), Emily Counts (Washington), Emily Nachison (Oregon), and Judy Tuwaletstiwa (New Mexico), approach glass from diverse perspectives, but it is transformation – be it through meditations on mortality, adolescence, fantasty, or the spiritual - that draws them to this material and connects their work.

Ligia Bouton’s Table Conversation (2016) is an excerpt from a larger installation entitled The Cage Went in Search of a Bird, which imagined a discussion between Franz Kafka and Emily Bronte, both of whom were diagnosed with turburculosis. A blown glass belljar, containing a cast glass face, is connected via rubber and glass tubing to a mask – mouth to mouth – in a form of reciprocal respiration. Bouton says that the works “…explore how the body reflects the climate of the soul or indeed how the soul might communicate with a body under siege.” Kate Clements similarly addresses bodily death. Kate Clements’ Beloved (2016) is comprised of a glass vivarium on painted legs holds discarded floral arrangements from funeral services. The decay of the cut bloom, a frequent symbol in Dutch “vanitas” paintings from the 18th century, is a dissolution mimicking the inevitable transformation of our own bodies.

In their recent work, Emily Counts and Emily Nachison are both exploring the idea of hidden stories, which are manifest through references to mythology, fantasy, the body, and occult symbolism. In Emily Counts’ Future Connect and Bind (2016), a bronze mound, embossed with inscrutable symbols, is connected via a jagged and irregular chain to a flesh-colored, dripping cone made of cast glass. To Counts, each material and individual element is a “marker of time” and an “aesthetic impulse.” Strung together they form a narrative that reflects her interest in “…connectivity and fluidity in biology, technology, and sexuality.” Similarly, Emily Nachison combines a variety of materials, drawing on their cultural and historic associations, in sculptures that touch on our desire to mythologize the world. In this new body of work, Nachison refers to adolescence, sexuality, and fantasy. Tween Dream (2017), a cast glass pony head, emblazoned with glass earrings common to 90’s mall piercing kiosks, speaks to desire and disappointment. Its companion piece Pony Girl (2017), a hanging sculpture of leather, thick rope, and cast glass, references a bridle while silmultaneously recalling bondage accoutrements. Together they mark a threshold between youth and adult fantasy.

In 2012, Judy Tuwaletstiwa began a residency at the Bullseye Glass Resource Center in Santa Fe. This was the beginning of a months long journey, mixing fine glass powders to create subtle color variations. These colors, lightly tack-fused into amorphous wafers, have become both paint and brushstroke in Tuwaletstiwa’s large abstract composition. glass.song 2 (ruah.old) (2016) is made of small black, red, and orange wafers attached in visually udulating groupings on a field of black stained stretched canvas, recalling reptile scales, stone, or smouldering embers. These associations play out throughout her works, which often refer back to the written word. In her 2016 book, Glass, Tuwaletstiwa explains that the body of work entitled ruah – Hebrew for wind, breath, spirit – are in reference to the 1989 Edmond Jabès book Das Buch der Fragen. “In [the book], Jabès questions God and man, seeking language to express the unspeakable in the face of the Holocaust.” The works are “…responses, not answers, to the silent question that Das Buch der Fragen asks.”

Bullseye Projects
300 NW 13th Avenue
Portland, OR 97209 USA

www.bullseyeprojects.com

American Craft Council Lecture: Objects and Installations: The Work and Residencies of Emily Nachison, May 10, 2017

American Craft Council Library Salon Series Lecture Objects and Installations: The Work and Residencies of Emily Nachison

Through sculptural objects and installation, artist Emily Nachison investigates the use of story, symbols, and materiality to mythologize natural phenomena, escapism, and the desire for secret knowledge. In the summers of 2014 and 2015, Bullseye Projects invited her to participate in residencies at North Lands Creative Glass in Lybster, Scotland. Working in response to the unique landscape and architecture of Caithness, Scotland, Nachison created a series of projects for the Byre, a new Bullseye Projects exhibition space in Latheronwheel, Scotland. Nachison will discuss her recent residencies and exhibition.

The Library Salon Series is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund.

Wednesday, May 10, 7:00pm, 2017

1224 Marshall St. NE, Suite 200
Minneapolis, MN 55413

Periphery: League of Women Designers Exhibition, Design Week Portland, April 2017

A curated exhibition by the League of Women Designers. Periphery is part of Design Week Portland. Design Week Portland is a week-long, city-wide series of programs exploring the process, craft, and practice of design across all disciplines.

Exhibition Dates: April 27th-30th, 2017

Olympic Mills Building, 107 SE Washington St, Portland, Oregon 97214

Participating Artists and Designers: Laura Allcorn, Leah K.S. Amick, Jennifer Cooke, Taryn Coward, Emi Day, Jennifer Freudenberger, Ali Gradisher, Lauren Hackett, Whitney Jordan, Abbie Miller, Emily Nachison, Marilee Sweeney, Sara Schmidt, Rena Simon, Chelsea Stephen

American Craft Council Announces 2017 Rare Craft Fellowship Award Finalists

The American Craft Council is excited to announce the finalists for the 2017 Rare Craft Fellowship Award in association with The Balvenie. For the last three years, the Rare Craft Fellowship Award has recognized and supported artists’ contributions to the maintenance and revival of traditional or rare crafts in America.

From a pool of qualified and talented makers, five artists were selected as finalists for the Rare Craft Fellowship Award by a panel of jurors. The American Craft Council is pleased to present the following artists:

  • Abir Ali and Andre Sandifer, furniture makers
  • Janice Arnold, textiles
  • Amara Hark-Weber, shoemaker
  • Sandra and Wence Martinez, painter and weaver 
  • Emily Nachison, glass and installation

Jury panel:

  • Anthony Bourdain, author, chef, and raconteur
  • Michael Radyk, ACC director of education
  • David Stewart, The Balvenie’s malt master
  • Jennifer Zwilling, curator of artistic programs, the Clay Studio, Philadelphia

For more information visit: https://craftcouncil.org

Flower Time at the Lillestreet Art Center in Chicago, Illinois

Flower Time, a public installation at Lillstreet Art Center Rooftop Project Space. 

This series of flags was inspired by Carolus Linnaeus’ horologium florae (floral clock) hypothesis. In 1751, Carolus Linnaeus, a Swedish naturalist, hypothesized that flowers could be used to measure time by planting them in a 12-point radial formation based on when their species opened and closed. Carolus Linnaeus, (1707 – 1778) is often referred to as the Father of Taxonomy. Linnaeus was the first to frame principles for defining natural genera and species of organisms and to create a uniform system for naming them. The flowers pictured on the flags in Flower Time are organized by the time of day in which they open. Flags will be on view November 1 - 30, 2016

Lillstreet Art Center

4401 N. Ravenswood Ave, Chicago, IL 60640

www.lillstreetgallery.com

Photography by Nora Renick-Rinehart