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Today's Document
"I'm Dorothy Gale from Kansas"
PUT YOUR BEARD IN MY MOUTH
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noise dept.
RMH
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oozey mess
Xuebing Du
Misplaced Lens Cap

izzy's playlists!
sheepfilms
cherry valley forever
Three Goblin Art
I'd rather be in outer space 🛸
Stranger Things

pixel skylines

JVL

#extradirty
Claire Keane

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@pnca-liw
If you thought you had run out of time to apply: Good News! We’ve extended the deadline. Apply Here
Leland Iron Works 2018 Artist in Residence
Ford Family Foundation Golden Spot Artist Residents
Diane Jacobs- February
Linda Wysong- May
Beckey Kaye- July
Jodie Cavalier- August
Mami Takahashi - October
Emerging Artist Residents:
Catherine Ross- March
Melanie Stevens- April
Lauren Goding - June
Robin Cone-Murakami- July/ August Low- Res.
Nicolo Gentile- September
Announcing 2017 Summer/Fall Leland Iron Works Artists in Residence
Congratulations to all of the PNCA students graduating this spring! I am happy to announce the Leland Iron Works 2017 Summer/Fall Residents. As you may know, The Ford Family Foundation in collaboration with PNCA, provides support for the residency program at the home and studio of Lee Kelly in Oregon City. This grant gives the gift of free studio space to both emerging and established artists. The Ford Family “Golden Spot” Residents are also awarded stipends and must meet certain requirements in order to be eligible to apply.
We have selected some great artists from both within and outside of the PNCA community, congratulations to all of them!
The Ford Family Foundation Golden Spot Residents
July: Tammy Jo Wilson BFA ‘03
August: Heather Goodwind
The Emerging Artists Residents:
September: Jennifer Viviano MFA ACD ‘17
October: Clairissa Stephens
July-September Low Residency: Aaron Smith and Colin Cathey BFA ‘18
Many thanks to the jurors who selected our artists for this session; Killeen Hansen, Kassandra Kelly and past “Golden Spot” resident Kristy Kun. This round the jury saw fit to award a special three month low-residency to two BFA students who applied as a collaborative team. This long term low-residency will provide opportunity for the students to develop a deeper relationship to the property while formulating their thesis projects.
We looking forward to having each of these artists working on-site!
Leland Iron Works Presents: A Free Small Vessel Workshop with The Ford Family Foundation Golden Spot Resident Kristy Kun
PNCA students, drop in and learn the basics principles for wet felting wool and creating hollow forms using flat resits. This is the foundation for felting many types of hollow forms. Materials are provided, Kristy will also have many samples of complex felted forms to discuss advanced techniques with students. Advancing to complex sculptural forms, slippers, hats, and bags will be a cinch after mastering the small vessel!
Demos Starting at 3pm and 5pm, Happy Hour starts at 5pm.
Kristy Kun uses the word synthesis to describe the irreversible bonding of fibers used in her work, but the description can be taken well beyond referencing how wool fibers tangle and tighten into dense textiles, as it does when she’s making handmade felt.
Encompassing materials and techniques from cross disciplines; Kun’s sculpted forms challenge traditional notions of construction and tenacity—a synthesis, harnessing the strength of the most delicate fibers in juxtaposition against stronger ‘elemental’ undercurrents.
“I simply can't stop my hands from touching and transforming wool. Feral fibers, fires and wires wild, take shape in my dreams, activate muscle memories, and the potentialities of sculptural forms flow from every breath of my creative spirit.”
“Tenacities and Opulent Fibers” opens February 28th at the Waterstone Gallery.
Leland Iron Works 2016 Resident Show: Living Practice
Located just east of Oregon City, Leland Iron Works is the home and studio of sculptor Lee Kelly and his family. Lee, who graduated from the Museum Art School in 1959 along with his wife Bonnie Bronson (’62) moved from North Portland to the rural property in 1963. They created a space close to nature that fostered the growth of their children and their art practices, and served as a sanctuary for their creative friends and colleagues. For years, Leland Iron Works has been home to artists, activists, musicians, writers, climbers, architects, poets, and dancers. The residency program at Leland Iron Works is a continuation of that legacy.
This year Leland Iron Works was pleased to be awarded “Golden Spot” Residency Grant from The Ford Family Foundation. The “Golden Spot” program supports new artist residency programs in culturally and historically significant locations in Oregon. This grant enabled us to select and award stipends for month-long residencies at LIW to five established Oregon artists. In addition, this grant allowed PNCA to offer one month residencies to emerging artists at no cost to the artists. This generous grant has enabled greater support for the property, attracted visiting artists to campus for talks and class visits, and expanded the PNCA community. With the support of The Ford Family Foundation, the Kelly family and PNCA, Leland Iron Works will continue to provide the space and time for emerging and established artists in the coming year and beyond.
This year’s “Golden Spot” Residents are: Linda Hutchins (BFA ‘88), Nate Ethington, Nicky Kriara, Laura Heit, and Cynthia Lahti.
This year’s Emerging Artists are: Jung Min (MFA VS ‘15), Lauren Sinner (MFA ACD ‘16), Matthew Boulay, Harry Schneider (MFA Printmaking ‘16), and Andreas von Knobloch (MFA ACD ‘16)
Living Practice acts as both verb and noun. In action, each artist was fully immersed: eating, sleeping, waking and working for hours uninterrupted in their studio. The artists were, quite literally, living their practice. As many working artists know, a creative practice can feel as if it is an alive entity that must be cultivated daily in order to thrive. Many of this year’s artists remarked on the rigor and prolific nature of Lee Kelly’s daily practice and they often felt its influence pushing their own pace and intensity in the studio to new levels. As the residents worked within the context of the property, scattered with over sixty years of paintings, sculpture, sculptural experiments, and drawers upon drawers of drawings, they discovered Lee’s process and examined their own. For many of our residents, new avenues and explorations began to emerge that they were not expecting upon arrival. The results are seen here, the work is both finished and still in development, processes newly tapped into, patterns emerging, materials just discovered, formal visual languages still trying to decipher themselves. And so, living practice also becomes an apt descriptor for the creature that creative pursuits evolve into when given the time, space and support to develop.
“Lee and the Snow Leopord” (Ongoing Work in Progress) by “Golden Spot” Resident Laura Heit.
Leland Iron Works Artist Residency: The Cowboy Way
By: Linda Hutchins, Artist in Resident April ‘16
The first week is about establishing routines - for space and time and how I use them. I worry about how much time I’m taking to clean and organize and domesticate my space. I had thought I would escape that here. Instead, I’m reminded that a certain sense of cleanliness and organization is in my nature, part of my creative process.
The second week is about testing my artistic ideas and intentions and establishing the direction I will take with them. I develop a comfortable rhythm that accommodates the animals and insects, the cold water, and the swings in temperature and light. I try to make the most of them: yoga and breakfast in the morning sun on the east porch, lunch and dinner on the west side under the tall trees.
Depending on the weather, I draw inside using the textures and sounds of the classroom wall, or outside on the resonant steel wall next to Lee’s scrap pile. Occasionally, I experience an urge to check email in that momentary lapse of focus that Gigi writes about. What did we do in those moments, before there was email? Eat. Chat. Hang out with others whose focus had similarly lapsed. Nap!
When I wake it is evening. Somewhere between the rosy sunset and the blue sky is a pale celadon green.
The third week, stretching to ten days, is the meat of the residency. I produce some coherent results, push my ideas further, and see how far I can take them. For me, the real value of any residency is the ability to tackle some open-ended problem that requires dedicated time away from daily commitments. The project is defined, isolated, planned and prepared for. Supplies are chosen and the time and place are set. One of the biggest challenges - to be clear about the task at hand, to isolate it and frame it and bring it into focus - is already accomplished before the residency begins.
It helps to be in a makeshift place where nothing is given or pre-determined. No former projects, finished or unfinished, no books or equipment or materials weigh on me and keep me from getting in the zone. Nothing other than what I selected to bring specifically for this month. The raw space is a blank slate where any move I make is an improvement and I have no worries about messing things up.
Importantly, I’m not responsible for maintenance. The leaky roof is someone else’s problem, the mice are someone else’s problem, the composting toilet is someone else’s problem. I work around them, and I do basic chores - cooking, cleaning - but they don’t weigh on me and take me out of the zone.
When I first visited Leland Iron Works, I was struck by the textural richness in evidence everywhere, especially in the old machine shed. Long ago, Lee and Bonnie paneled the walls there in a geometric arrangement of boards from an old barn. A zig-zagging pattern of gaps has opened between the wide planks, and a circular pattern of saw kerfs criss-crosses their weathered grain. At a time when the world is being smoothed and glossed over, homogenized, unified, and digitized, when the glossy and glassy are everywhere seductive and soporific, my focus here is to reclaim texture and difference. Not to force it but to find it, to touch it, to record that touch, and to celebrate it in my drawings.
A steady rain makes me skip yoga one morning but still I sit out under the overhang on the east porch, bundled in my long johns, down vest, and wool hat. I want to make more outdoor texture drawings but the rain won’t allow it today. Instead, I watch two herons hunt in the pasture next door. In the distance, one strikes and swallows.
“A frog or a vole,” Lee says later. “They roost communally and hunt territorially.”
A hummingbird swoops from the evergreen overhead, close enough to amaze me with the motor of its wings. Now the second heron has success. No wonder the frogs and voles are so prolific - they have to be!
In this place, it becomes clear that ethical relations begin with the land and the animals that live on it. Lee says, “They were here first.” A happy coexistence requires respect and tolerance and wise, moderate, even minimal, shared use of resources. Around me, Lee’s sculptures give the trees character and relate them to us. We all three - humans, sculpture, trees - keep company. I pause to reflect on all that Lee and his family have created, and to express my appreciation for the opportunity to live and work here for this month. In spite of the challenges, there’s a luxury to living as a guest here, drinking in the richness of the place without the burden of its upkeep.
Midway through my residency, I reach a sense of clarity around the importance of difference and contrast. Modern life appears to me as a steady push toward sameness that deprives us of natural highs and lows. The highs are so much higher because of their distance from the lows. The samenesses I think about include central heating and air conditioning, municipal water, refrigeration, suburbia, chain stores, and national newspapers. The desire for comfort and convenience deprives us of so much experience, so much sensation. Perhaps initially the desire is motivated by fear - fear of the other, fear of pain, fear of the unknown. But I think it has become a laziness, a misguided attempt to enjoy more of the highs without suffering the lows. But it’s not possible. The highs diminish without the contrast of the lows.
I’m also aware of differences between this individual residency and the group residencies I’ve experienced alongside other artists at Caldera. Here I develop a personal relationship with the benefactors who have also developed personal relationships with the previous residents. We get to know each other, more than I expect, and they unavoidably see me in comparison with others. My desire to please them influences my behavior and the work I do in residence. There, I am together with other artists. We interact as much or as little as we want, without consequence from the benefactors who I never see. There, my relationships with the administrator and caretaker are professional, not personal. Neither better nor worse; different.
A similar summing up fills my final days. I attempt to reach closure. Failing that, I take steps toward continuing work in my own studio. Now that my basic strategy, materials, and technique have evolved, the completion of a body of work is a matter of time. That will be possible, though harder, at home.
I watch the heron in the horse pasture every morning now. Has she been there all along, while it’s taken me the month to notice? What more might I notice if I stayed longer? If I lived here, what would I stop noticing, take for granted, become accustomed and inured to?
On my last day, I find myself eating little bits of oatmeal that spill onto the counter where I know the mice have scampered.
“The cowboy way,” Lee would say.
Photographer and Sculptor Mario Gallucci captured the beauty of Leland Iron Works last fall. Thanks again Mario!
Applications are now open for The Residency at Leland Iron Works 2017
Located just east of Oregon City, Leland Iron Works is the home and studio of sculptor Lee Kelly and his family. For years, Leland Iron Works has been home to artists, activists, musicians, writers, climbers, architects, poets, and dancers. The residency at Leland Iron Works is an expansion of that legacy. With a generous grant from the Ford Family Foundation and with the continued support of the Kelly family and PNCA, Leland Iron Works will provide one month residencies to professional Oregon artists and PNCA students and alumni.
There are two categories of Residencies to which you can apply, read the descriptions carefully to best understand which category you fit into and apply accordingly.
Residency for emerging visual artists, writers and musicians.
(4 per year)
You may or may not be a student to apply in this category. We are also able to extend this opportunity to artist practicing outside of the visual arts category so you may apply as an established writer or musician. Selected artists will receive one month long residency session at no cost.
Residency for Mid-Career/ Established Artists
(5 per year)
To apply in this category, you must be a practicing visual artist currently producing works of art. You must be a full-time resident of Oregon for at least 36 months prior to the application deadline and remain a resident through the duration of the grant period. You must be 30 years of age or older at the time of application. You must provide evidence, through your C.V. of seven or more years of active professional participation in your medium. You may not be enrolled in a degree-seeking program, either part-time or full-time.
Selected artists in this category will receive a one month long residency session at no cost along with a stipend of $2500 made in two installments.
All residents are required to give a slide lecture at PNCA at the end of their stay as well as to create a one-day workshop at LIW or participate in a day of class visits on campus. Residents are also asked to participate in the annual residency show.
Winter/Spring Session February-June Deadline For Application 10/31/2016
Summer/Fall Session July- October Deadline for Application TBA
Background
A partnership between venerable Portland artist, Lee Kelly and the college, PNCA’s Leland Iron Works Artist-in-Residency Program awards five month-long residencies to practicing Oregon artists and four residencies for students and emerging artists at Leland Iron Works, Kelly’s long-time home, studio, and rustic sculpture garden.
The goal of the LIW Residency Program is to support and invest in practicing and emerging artists whose work will impact Oregon’s cultural landscape. A one-month residency at LIW provides these artists with the time, space, and opportunity to take their work to the next level and to experiment with material and processes in a uniquely Oregonian environment. Residents will share their work with younger artists through artist talks, classroom critiques, and possible collaborations.
Information Session
Friday, September 23rd at 12:30 pm in BridgeLab at PNCA.
Join Christina Conant, the director of programing at Leland Iron Works, along with a past resident who will be discussing the residency and experiences at Leland. Learn more about the application process and various opportunities to visit the property.
Fast Facts:
There will be nine month-long residencies awarded each year, five to established Oregon artists (with more than 7 years of demonstrated art practice; non-students), and four to emerging Oregon artists (can be students or non-visual artists such as writers or musicians).
Established artists will each deliver an artist talk at PNCA and/or participate in a classroom critique. Each established artist awarded a residency will receive a stipend of $2500. Emerging artists will each deliver a lunchtime lecture on their residency at PNCA.
The Leland Iron Works Residencies provide dedicated time, space, and solitude for artists to reinvigorate their creative practice. It is a rugged, independent, and highly customizable experience and offers facilities including 24-hour access to an 8’x15’ residential studio, wood-fired kiln, sauna, and outdoor workspace that align with Kelly’s ethos of having as minimal an impact on the land as possible.
The residency can coordinate access to additional art-making facilities for residents through the labs, workshops, and studios of PNCA, including sculpture, woodworking, metalworking, digital printing, and photography studios, as well as to one of the largest printmaking studios on the west coast. Residents will also have access to the PNCA library, one of the largest and most comprehensive fine-arts libraries in the region.
This residency is supported in part by a generous grant from The Ford Family Foundation.
ABOUT LELAND IRON WORKS
Since 1963, the five-acre property and “great experiment” known as Leland Iron Works has been Lee Kelly’s studio and home. Previously a sawmill and dairy farm, LIW is a direct link to the earliest days of Oregon’s history. Since the 1960s, it has provided art studios for writers, architects, and other artists who come to the property to work or find quiet. In 1970, it was designated an artist colony.
For more information or to apply visit:
http://pnca.edu/programs/leland/c/residency
Leland Iron Works Blog:
http://pnca-liw.tumblr.com/
Or Contact:
Christina Conant at [email protected]
Director of Programming
Touch Stone: An Open Rehearsal
Following an April artist residency at Leland Iron Works, Linda Hutchins (PNCA ‘88) shares her research in Touch Stone: An Open Rehearsal at Pacific Northwest College of Art May 11-14, 2016. For Touch Stone, Hutchins will create a new drawing on site that incorporates the textures of one of the original marble columns in the grand hall outside the 511 Gallery at PNCA. Hutchins will work on site and answer questions 12:30-1:30 pm daily, Wednesday, May 11 through Saturday, May 14, 2016.
Hutchins draws with both hands, often all ten digits at once, sacrificing control for a direct reflection of body symmetry and dynamics. Percussive rhythm offers a motivation for her drawing gestures that is seemingly embedded in the body. Through it she strives for a kind of automatism, not the psychological automatism of Surrealism, but a structural automatism that reveals the inclinations and capacities of the physical self. She sees it as a form of figure drawing, a self-portrait from the inside out.
Touch Stone is also an open rehearsal in Hutchins’s ongoing project to bring the rhythms of Steve Reich’s Clapping Music (1972) into her body, through both hands and all ten digits into her drawings. Hutchins first worked with Reich’s Clapping Music rhythms in 2013 for Echo Chamber, a site-specific wall drawing installation at littlebigspace in Albany, California. She returned to Reich’s rhythms in her residency at Leland Iron Works, incorporating new notational systems and compositional strategies in silverpoint drawings that straddle the line between drawing and rubbing. Silverpoint is a traditional old master drawing technique in which actual silver is used to draw on prepared paper. Hutchins’s practice of drawing with silver thimbles is anything but traditional.
Pacific Northwest College of Art is located at 511 NW Broadway in Portland, Oregon. Touch Stone is accessible to the public 9 am to 8 pm Wednesday, May 11 through Saturday, May 14, 2016. The artist will be present 12:30-1:30 pm daily. This project is presented by The Center for Contemporary Art & Culture, Leland Iron Works and The Ford Family Foundation.
Residency Info Session at PNCA in BridgeLab. Monday 4/4 at 12:30 pm!
Leland Iron Works Artist Talk: Jung Min, What the hell am I doing?
Jung Min (MJ) gave an honest and powerful talk last month at PNCA. She spoke about her experience as a resident and her eventual confrontation with the reasons she has chosen to be a visual artist and how she might move forward after her experience.
Leland Ironworks is proud to announce we have received Ford Family Foundation Grant to support Artists in Residence! Spring Application is now open!
Deadline For Spring Session (months FEB-JUN) 12/31/2015
Jury will Meet in Early January and Residents will be notified by 1/20/2015
OREGON RESIDENTS ONLY
Located just east of Oregon City, Leland Iron Works is the home and studio of sculptor Lee Kelly and his family. For years, Leland Iron Works has been home to artists, activists, musicians, writers, climbers, architects, poets, and dancers. The residency at Leland Iron Works is an expansion of that legacy.
Spending time at Leland Iron Works is an exercise in removing oneself from the immediate feedback loop now standard in contemporary life. The studio practice is stripped away to art materials that can be transported easily, and to what can be found onsite. Part homestay, part solo excursion into the proverbial wilderness, Leland Iron Works provides an altered reality connected to but apart from the institution and city life. WI-FI is limited, There is a bunk available within the residency space, there are limited kitchen facilities, there are not shower facilities, many residents camp outside of the studio during the warmer months. The proximity to Portland allows for flexibility in how you structure your time as a resident.
With a generous grant from the Ford Family Foundation and with the continued support of the Kelly family and PNCA, Leland Iron Works will now be able to provide two categories of residencies to Oregon Artists.
Emerging visual artists, writers or musicians may apply to be considered for a free one month residency. An emerging artist may or may not be enrolled as a student. You must have been an Oregon resident for at least 6 months prior to application. Emerging artists must demonstrate an ongoing creative practice and articulate how they will use the unique setting of LIW to further their practice.
Mid-Career/ Established Artists who are selected will receive a free 1 month residency along with a $2500 stipend. To qualify for this grant you must be a practicing visual artists currently producing works of art. You must be a full-time resident of Oregon for at least 36 months prior to the application deadline and remain a resident through the duration of the grant period. You must be 30 years of age or older at the time of application. You must provide evidence, through your C.V. of seven or more years of active professional participation in your medium. You may not be enrolled in a degree-seeking program, either part-time or full-time.
All residents are required to give a slide lecture at PNCA at the end of their stay as well as to create a one-day workshop or participate in class room visits. Residents are also asked to participate in an annual residency show.
For more information and to apply visit: http://pnca.edu/programs/leland/c/residency
email questions to [email protected]
Information Session: December 11th at 12:30pm PNCA BridgLab RM 217 511 NW Broadway St.
Join Us in PNCA’s Innovation Lab for First Thursday on November 5th. We will be celebrating the work and explorations of our Summer Residents and Interns. Click on the Link for a full description. Hope to See you there!
East of Riggins, 1978 By Lee Kelly
The next walking tour is this coming Saturday, the 22nd at 11am. To RSVP or for more information email Annie at [email protected]