Two Lips F-89

Title: Two Lips F-89
LC Subject: Painting oil painting (technique) oil paintings (visual works) painting (image-making) paintings (visual works)
Creator: Bustamante, Cody, 1955-
Description: This long, rectangular painting, horizontally oriented, presents a succession of rectangular color blocks, including black, blue, and red. Several color blocks also present what appear to be floral arrangements. The blue section farthest to the right contains an inset of alternating blue and green stripes. Cody Bustamante; F-89 Two Lips; 1989; oil on plywood; 15x92 3/4 inches; ohsu movable The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Regional Arts & Culture. You may view their website at http://www.racc.org/
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Location: Oregon Health and Science University Hospital >> Multnomah County >> Oregon >> United States Multnomah County >> Oregon >> United States
Street Address: (main campus) 3181 S. W. Sam Jackson Road, Portland Oregon
Award Date: 1989
Identifier: 1991_ohsu_movable-col_04_a01
Item Locator: BUS: 91-5
Accession Number: 1991_ohsu_movable-col_04_a01
Rights: In Copyright
Dc Rights Holder: Bustamante, Cody, 1955-
Type: Image
Format: image/tiff
Measurements: 15 x 92 3/4 inches
Material: Painting oil on plywood
Set: Oregon Percent for Art
Primary Set: Oregon Percent for Art
Relation: 1991 Oregon Health Sciences University, University Hospital South Expansion Movable Collection. Portland Oregon 1991_ohsu_movable-col
Has Version: slide; color
Institution: Oregon Arts Commission University of Oregon
Note: In 1991, the University hospital was undergoing an expansion of its C-Wing; simultaneously three new neighborhood health clinics were nearing completion in Portland. Public art purchases for these projects were made possible by Oregon's Percent for Art program. In 1996, "University Hospital" was renamed Oregon Health Sciences University Hospital. For a map of OHSU's Marquam Campus, see http://www.ohsu.edu/about/campusmap.pdf
Color Space: RGB
Biographical Information: During 1988-1990 I executed a body of paintings utilizing an extreme horizontal format. I was seeking to reduce or eliminate the narrative aspects of my work, which I felt bogged the work down to only literal interpretations and experiences. Having used nearly square rectangular formates almost exclusively, the horizontal format created a natural focus onnarrative tendencies. The idea was to work on a format that so strongly suggested a narrative reading that I would have to make extreem and overt gestures to overcome that tendency. Another strategy employed through this end was the utilization of disparate painting techniques and styles in the different areas or panels, and even within isolated areas of a single painting. Again the goal was to utilize these different levels of abstraction to interfere with narrative interpretations and to additionally create internal dissonances. An analogous effect in music might be found in the chamber music of Bela Bartok, the orchestral works of Charles Ives, and the early 1970's recordings of Miles Davis. On a personal note, the latter strategies allowed me to "min" my own art history, assessing my repertoire of images and techniques, and comparing and exploring them in relation to each other. The net effect of all of this should be found by looking at the painting. (Bustamante, 1991) Having used nearly square rectangular formats almost exclusively, the horizontal format created a natural focus on narrative tendencies. The idea was to work on a format that so strongly suggested a narrative reading that I would have to make extreme and overt gestures to overcome that tendency. Another strategy employed to this end was the utilization of disparate painting techniques and styles in the different areas or panels, and even within isolated areas of a single painting. Again the goal was to utilize these different levels of abstraction to interfere with narrative interpretations and to additionally create internal dissonances. An analogous effect in music might be found in the chamber music of Bela Bartok, the orchestral works of Charles Ives, and the early 1970's recordings of Miles Davis. On a personal note, the latter strategies allowed me to "mine" my own art history, assessing my repertoire of images and techniques, and comparing and exploring them in relation to each other. The net effect of all of this should be found by looking at the painting. (Cody Bustamante, 1991)