In the Beginning | Minor White’s Oregon Photographs

“Long before co-founding Aperture magazine or establishing the groundbreaking photography program at Massachusetts Institute of Technology, Minor White (1908-1976) moved to Portland, where he sowed the seeds of what would become a forceful artistic vision. This exhibition of White’s rarely seen early work celebrates the artist’s influence on the region, and honours the Museum’s dedication to acquiring and displaying photography as the institution enters its 125th year.”

– Julia Dolan, Ph.D, The Minor White Curator of Photography

Untitled (Union Station Loading Platform) | ca. 1932 | Gelatin silver print


After the Fire Architecture (1211 Southwest First Avenue at Madison)  ca. 1939 | Gelatin silver print


Untitled (Broadway Bridge) | ca. 1939 | Gelatin silver print


Front Street, Portland, Oregon 1939 (negative) | ca. 1970 (print) | Gelatin silver print


Portland Art Museum

June 9th, 2018

 

We Construct Marvels

Between Monuments

Titus Kaphar | The Jerome Project (Asphalt and Chalk) XVI | 2014 | Chalk on asphalt paper


Sarah Lucas | Oh! Soldier | 2005 | Braces, wire hanger, cast concrete army boots and nylon stockings


Maria Magdalena Campos-Pons | Untitled | 1999 | Lithograph and paper pulp


William Morris | Artifact Panel | 2000 | Glass, wood, and paint


Nicholas Galanin | By-Product | 2012 | Glass and vinyl


Portland Art Museum

June 9th, 2018

Passing Resemblance

of Reality

Randolph Rogers | Nydia the Blind Flower Girl of Pompeii | 1855/1884 | Marble


Jean-Joseph-Alexandre Falguière | Bust of Diana | ca. 1882 | Bronze


Augustin Pajou | Portrait of the Marquis de Lubersac | 1772 | Terracota Heidi Schwegler | Passing Resemblance (to the artist herself) | 2014 |Silicone, hair, doll body


John McCracken | Black Box | ca. 1965 | polyester resin on fiberglass and plywood (selfie op entirely intentional)


Palmyra, Syria | Funerary Portrait: Yarkhai, Son of Ogga and Balya, his Daughter | ca. 150-200 CE | Limestone


Portland Art Museum

June 9th, 2018

An obnoxious cat

”Firmin-Girard enjoyed great popularity at the time the Impressionists were revolting against the highly detailed, academic style that he practiced. However, Firmin-Girard shared the Impressionists’ interest in painting modern life, especially scenes along the River Seine. In this work, Parisians enjoy a Sunday brasserie overlooking the river at Bas-Meudon southwest of Paris. At left, the artist depicted his daughter stroking an appreciative cat as her brother chats with their grandmother…” (from the accompanying tag)

An appreciative cat? I don’t think so… What I see, is a mean character, eyes narrowed, probably plotting its next attack; I can almost hear it hissing and growling at the dog across the street.

Marie-François Firmin-Girard (1838-1921)
Sunday at Bas-Meudon, 1884
Oil on canvas

Portland Art Museum

June 9th, 2018