I’ve set up a new updates page.
Check it out here: http://cargocollective.com/nachison
"Ecology, Geology, and Biology; a conversation between Emily Nachison and Allyce Wood" Yardwork is an outdoor summer-long public lecture series by pairs of regional artists and creative practitioners.
Sunday, September 8, 2013, 9:00 pm
1104 SE 45th Ave Portland, OR
May 1 – June 29, 2013
Opening Reception: Wednesday, May 1, 5:30 - 7:30
Bullseye Gallery presents Chroma-Culture, an exhibition focused on color, featuring fifteen artists from around the world. Chroma-Culture will be on view May 1 – June 29, 2013.
Seductive and engaging, color is one of the fundamental elements of our world and yet is also one of the most misunderstood. Throughout history, artists, philosophers and scientists have tried to explain color through poetic characterizations and elaborate analytical and organizational systems. Despite these efforts, conversations about color remain subjective and often tied to parapsychology and cultural philosophy rather than hard fact.
In conjunction with BECon 2013: Chroma-Culture, Bullseye presents a sweeping group exhibition that examines the mysteries and curiosities around color. Each artist, using kilnformed glass, approaches color in unique ways. Color, as in the work by Klaus Moje, can be the subject around which the work is made. It can also be a component of a larger conceptual paradigm, as seen in the flamboyant, pop iconography of Richard Marquis. The cultural, symbolic interpretations of color are exploited in the psychology-driven work of Argentinian-born artist Silvia Levenson and the metaphysic installations of Portland artist Emily Nachison.
Color can be explained scientifically as the sensation of the visual spectrum. It is a physical process in which electromagnetic waves of a particular length stimulate receptors within the eye. These, in turn, are translated into color and form within our brain. Color becomes subjective because the physical process of receiving these waves can vary from person to person. This is where the mystery lies. The expanse between the physical nature of color and our sensation and interpretation of this nature is the rich territory where art exists. The fifteen international artists that are included in Chroma-Culture navigate this area and bring to us works that tackle the visual, psychological, symbolic, and cultural implications of color.
Portland’s biennial BECon is the glass industry’s foremost conference on kilnforming. This year, the event will focus on the use of color in contemporary kiln-glass. BECon explores new ideas and new processes by inviting leading artists from a variety of disciplines to share their knowledge and vision through a series of panels and workshops. The conference will be held on the metropolitan campus of Portland State University.
300 NW 13th Avenue
Portland, OR 97209 USA
April 20 - July 13, 2013
Natural philosophy was a diverse field of inquiry based on a heuristic approach to knowledge. Through observation and experimentation, the natural philosophers sought to gain an understanding of the meanings and mechanics of the universe. This cross-disciplinary approach to knowledge was embraced by thinkers such as Sir Isaac Newton, who developed a theory of gravity while simultaneously writing treatises on color. In the 19th century, science disengaged itself from philosophy and split itself into specialized fields of study. The artists featured in Natural Philosophy defy these contemporary divisions, creating works that form new ideas by drawing from many areas of study.Join us for the opening reception April 20, 2-4pm. RSVP required.
The work of artist June Kingsbury combines her interest in philosophy, mythology and biology in macabre sculptures that recall the 16th century wunderkammer. Emily Nachison’s installations draw inspiration from pseudo scientific transformational principles of alchemy. Michael Rogers and Jeffrey Sarmiento collect and rearrange images and artifacts, creating new forms of knowledge through mixed iconography. The elaborate constructions of Mark Zirpel attempt to make tangible the often-invisible principles of the universe.
The practice of natural philosophy may seem quaint in the light of modern discoveries that require enormous research budgets and monumental pieces of equipment, but we lose something when we abandon inquiry to the specialist. The artists in Natural Philosophy pull from diverse disciplines in an attempt to unify the mysteries of our internal worlds with the grand movements of the cosmos.
Bullseye Glass Resource Center Bay Area
4514 Hollis Street, Emeryville, California 94608
Tuesday–Friday 10am–6pm, Saturday 10am–4pm
2013 Cascade AIDS Project Art Auction
This year I will be creating an installation for the 24th Annual Cascade AIDS Project Art Auction in the concourse of the Memorial Coliseum.
Every year since 1990, CAP has hosted an art auction and party to raise money to prevent the spread of HIV/AIDS and provide services to those infected or affected by HIV in the Pacific Northwest. Portland’s art community first organized this iconic event, and they remain the backbone of the Art Auction today. The event has flourished over the past two decades, now encompassing 215 works of art and more than 1,500 guests.
All funds raised support the vital work of CascadeAIDS Project. Our mission is to prevent HIVinfections, support and empower people affected and infected by HIV/AIDS, and eliminateHIV/AIDS-related stigma.
For more information on the Cascades Aides Project Art Auction visit: http://capartauction.org
Next month I will be speaking as part of the School of the Art Institute of Chicago Interlink Lecture Series.
Visiting Artist: Emily Nachison
Date: Thursday, April 11th at 4:15pm
Location: 112 S. Michigan Room 1307, Chicago, IL 60603
About: Interlink is run by graduate students at the School of the Art Institute of Chicago. Interlink invites artists, gallerists and curators to visit graduate students and to give a noon hour presentation.
The Interlink VAP is run by graduate students at the School of the Art Institute of Chicago. Interlink brings 8 -10 people to SAIC each academic year. The program emphasizes local artists, curators, gallerists, designers, and critics. The typical visit consists of 5 studio visits with graduate students and noon hour lecture.
Half Cut Tea is an independent LA film company dedicated to the understanding and exploration of artists through short documentary videos.
Half Cut Tea was created by artists Matt Glass and Jordan Wayne Long. To learn more about their other projects visit:
Hall of Conversion
Opening Reception: February 9th, 2013 6:00 pm - 9:00 pm
Exhibition: February 9th, 2013 - March 10th, 2013
Hall of Conversion investigates the transformation of matter. The installation is comprised of suspended glass apothecary dishes that span the length of the gallery. Each dish balances a cast glass sculptural piece that shares the exact same weight and volume as the rest. The glass pieces shape shift from one form to the next, illustrating natural cycles of growth and decay, while retaining the same volumetric proportion. This piece serves as a reflection of our ever-changing, yet never dying, world. Our world is one of transformation and not destruction.
The Vestibule is an independent project space housed within Disjecta and dedicated to showing dynamic contemporary art with an emphasis on installation.
The Regional Arts & Culture Council announced record funding for project grants in 2013. On December 19th, the RACC board approved $732,440 for an exciting variety of artistic projects taking place between January 1 and December 31, 2013 – including grants to 94 individual artists and 66 organizations and schools in Clackamas, Multnomah, and Washington Counties.
Funding for project grants is up 5% over last year because of solid public investments from the City of Portland, Clackamas County, Multnomah County, Washington County, and Metro; and continued growth of Work for Art, RACC’s workplace giving program. It wasn’t quite enough to keep up with the pace of demand, however – RACC received 12% more applications than a year ago. But more projects will be funded starting next year thanks to the passage of Portland’s new arts education and access fund.
Mary Anne Kluth Reviews “True Places” for Art Ltd. Magazine
The paintings in “True Places” strive to portray an abstract emotional or metaphysical reality, using landscape imagery as a metaphorical setting to examine human experience. All of the artists in the Oregon-based Portland Collective, which includes Hayley Barker, Michael Endo, Tia Factor, Grant Hottle, Ruth Lantz, Kendra Larson, Daniela Molnar, Emily Nachison, Ryan Pierce, Adam Sorensen, and Eva Speer, combine abstraction and figuration, generating works with both an illusory sense of the sublime as well as residue of formal experimentation. Tia Factor’s Majestic So Far (2011), combines washy areas of loose paint with neat rendering to depict a building on a cliff, set against a turbulent green sky. Trees, grass, and tiny figures populate the foreground, dwarfed by a massive, red, heavily reticulated shape suggesting a silhouetted house and landform, resembling a bloody congealed stain on the panel. This composition builds on some recognizable elements of an idyllic pastoral landscape along the lines of Claude, Cezanne or Durand, such as a point of interest in the distance, and abundant vegetation framing the view. Yet the picture is far from idealized. Factor’s color palette of sour yellows, ominous greens and purples, and the aforementioned gory red together impart an eerie, almost threatening overtone, hinting strongly at human vulnerability.
The artists in True Places navigate the tension between figuration and abstraction in personal, idiosyncratic ways. Factor’s paint handling is loose and organic, and Adam Sorensen’s is controlled and methodical. Wellspring (2011), verges on computer-generated, with smooth mountain forms reminiscent of traditional Chinese ink paintings interspersed amongst glowing green cascades and stratified blue gradients tumbling down the picture plane. Like an image of a waterfall frozen over a radioactive ore, Sorensen’s preternaturally still shapes seem imbued with an alien energy, perhaps a font of life force, perhaps gestating destruction. The only sculpture in the show, Ambergris (2012), by Emily Nachison, is a drippy psychedelic mound of excreted pink, orange and yellow textures. The rough, organic materiality of this piece serves to emphasize its artificial coloration; the work glows as if it had fallen out of one of the metaphysical worlds depicted in the surrounding paintings, as opposed to having washed ashore like its natural namesake.
Together, these works articulate a vivid but dangerous world, compelling but unknowable. Though not literally depicting the human visual experience of natural landscapes, they suggest an otherwise unseen realm linked to, but not fully apprehended by, normal physical experiences.
Read review online: Art Ltd. Magazine