Search

You searched for: Start Over Decade 1990-1999 Remove constraint Decade: 1990-1999 Topic mixed media Remove constraint Topic: mixed media

Search Results

41. detail view no. 2
detail view no. 2
Description
This view presents a detailed section of the mural, The Bridge of the Gods., Ruth Brockmann and Hal Bond; Bridge of the Gods; detail; PSOB, http://www.holstengalleries.com/artists/show/brockmann-4, 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/
42. Aspen Stand II
Aspen Stand II
Description
A combination of drawn aspen trees and photographed aspen trees., Aspen Stand II, mixed media collage; fragments; 42 x 24 inches, Terri Warpinski has been a professor of art at the University of Oregon since 1984, where she also served in administrative positions such as Vice Provost of Academic Affairs and Community Engagement. Warpinski's images reflect her reverence for the Western Landscape and her interest in the traces of human connection with this landscape. Warpinski invests her images with a strong belief in the environmental movement: "Art, literature and Theater can gather people around an issue in an uplifting way. It's not being irresponsible or ignoring the seriousness of things. Neither is it preaching to the converted. In my experience art can reach the spirit of people in a deeper way than a purely analytical approach..." Warpinski's projects include a series on aboriginal rock art in Australia, works inspired by her field notebooks, hand-colored black and white photographs, and large-format collages which include the Fragments series images that are now a part of this collection., tlw@uoregon.edu, http://www.terriwarpinski.com/, The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is Lane Arts. You may view their website at http://www.lanearts.org
43. full view
full view
Description
This view presents the mural, The Bridge of the Gods, in full in context at the Portland State Office Building. It presents a mythological narrative germane to the Northwest region., Ruth Brockmann; Bridge of the Gods; kiln-cast glass, fused glass, colored cement; 26 feet 5 inches x 6 feet 6 inches; 1992; Ptld. State Office Bldg.; Photo: Roger Schreiber, http://www.holstengalleries.com/artists/show/brockmann-4, 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/
44. detail view no. 5
detail view no. 5
Description
This view presents a detailed section of the mural, A Legend of Multnomah Falls., Ruth Brockmann; Multnomah Falls detail; kiln-cast glass, fused glass, colored cement; 1992; Ptld. State Office Bldg.;, http://www.holstengalleries.com/artists/show/brockmann-4, 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/
45. detail view no. 2
detail view no. 2
Description
This view presents a detailed section of the mural, A Legend of Multnomah Falls., Ruth Brockmann; Multnomah Falls detail; kiln-cast glass, fused glass, colored cement; 1992; Ptld. State Office Bldg.;, http://www.holstengalleries.com/artists/show/brockmann-4, 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/
46. Vega
Vega
Description
A wooden sculpture with three legs, supporting a madrone burl, oval-shaped piece that extends downward into a cone shape. The top of the piece is a bluish metal, perhaps a patinaed copper, with a brass opening in the middle. This is one of two images of the same piece. Irregularities between the pieces may reflect a difference in the source material., Vega; William Moore; 1990; Copper, Brass, Maple, Madrone Burl; 19.5 x 11.5 x 10 inches, The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Mid-Valley Arts. You may view their website at: http://www.oregonlink.com/arts/index.html
47. detail view no. 8
detail view no. 8
Description
This view presents a detailed section of the mural, The Bridge of the Gods., Ruth Brockmann; Bridge of the Gods detail; kiln-cast glass, fused glass, colored cement; 1992; Ptld. State Office Bldg., http://www.holstengalleries.com/artists/show/brockmann-4, 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/
48. Crossroads I
Crossroads I
Description
Detailed view of a centerpiece of an artwork made from burl. A prickly texture surrounds four concave rectangles with gridmarks on them. Six cork-like objects protrude; they are arranged in a curving segment. 3 horizontal black bars extend from the right side., Christian Burchard; crossroads I; detail, Born in Hamburg, Germany in 1955, Christian has been living in the United States since 1978. Building on a foundation laid by a furniture makers apprenticeship in Germany in the middle seventies, he studied sculpture and drawing first at the Museum School in Boston and then at the Emily Carr College of Art and Design in Vancouver BC. In 1982 he and his wife, Micheline, opened Cold Mountain Studio in Southern Oregon. His early focus was on furniture and interiors, but gradually shifted to woodturning and sculpture, moving between vessel oriented forms and sculptural turning. His work has been included in most of the major turning related exhibits of the last ten years and is exhibited widely throughout the US. His pieces are part of many public and private collections. He is also sought after as a teacher and demonstrator at craft schools and conferences and related turning events. (information obtained from http://www.burchardstudio.com/bio.html -- viewed 2007-02-22), burchard@hughes.net, http://www.burchardstudio.com/, The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Linn-Benton Arts. You may view their website at: http://www.artcentric.org/
49. Crossroads I
Crossroads I
Description
A curved gold piece is set in the middle of 3 long horizontal black bars, one thick vertical bar, and six curved bars, all set against a blue wall. Featured in the gold piece are curved etchings exhibiting a prickly texture, and four cork-like objects protruding from the piece., Christian Burchard; crossroads I, Born in Hamburg, Germany in 1955, Christian has been living in the United States since 1978. Building on a foundation laid by a furniture makers apprenticeship in Germany in the middle seventies, he studied sculpture and drawing first at the Museum School in Boston and then at the Emily Carr College of Art and Design in Vancouver BC. In 1982 he and his wife, Micheline, opened Cold Mountain Studio in Southern Oregon. His early focus was on furniture and interiors, but gradually shifted to woodturning and sculpture, moving between vessel oriented forms and sculptural turning. His work has been included in most of the major turning related exhibits of the last ten years and is exhibited widely throughout the US. His pieces are part of many public and private collections. He is also sought after as a teacher and demonstrator at craft schools and conferences and related turning events. (information obtained from http://www.burchardstudio.com/bio.html -- viewed 2007-02-22), burchard@hughes.net, http://www.burchardstudio.com/, The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Linn-Benton Arts. You may view their website at: http://www.artcentric.org/
50. Solve Et Coagula
Solve Et Coagula
Description
A religious man is pictured concocting what appears to be some sort of experiment or ritual over the top of what appears to be collaged shreds of hand-written documents. The written text reads: "Through the struggle of dissolution and coagulation, illuminated by the progressive and retrograde movement of the stars a new cosmos is created from the old one.", Solve et Coagula; mixed media; 1998, My recent works on paper are inspired by alchemical manuscripts. The alchemists documented their labors in enigmatic texts in which chemical procedures, cosmology and myths are woven together into fantastic allegories. Similarly in my paintings I use imagery of birds, beasts, plants and minerals as symbols of the process of transformation, As an artist I view alchemy as a metaphor for the creative process in which there is progressive transformation and refinement of materials, imagery and ultimately consciousness. In alchemy and art alike the creative imagination is the vital agent of change. The alchemists described their labors as an "art". Like the alchemist I attempt to use physical processes as a mirror of inner experience. The materials become "transmuted" from their initially inert state through creative and chaotic struggle into a new synthesis. In my painting I use physical processes of dissolution, evaporation, heat and gravity which remind me of the alchemist's use of the elements of water, air, fire and earth. Humor is an important element of my work. Likewise humor and paradox were not unknown to the alchemist. The texts abound with cryptic riddles meant to befuddle the literal-minded and catalyze intuitive insight. Hermes, the Greek god of wisdom, was the patron of alchemists and also the trickster who could lead his followers on a search to find "fools gold". Anyone who embarks on a potentially quixotic search to find the elixir of immortality should have plenty of humor and humility to sustain themselves! The homunculus, a human-like creature nurtured in a glass vessel was reputed to have been created in the alchemical laboratory. In the novel "Frankenstein" the renegade doctor studies the writings of Paracelsus, the swiss alchemist, before creating his monster. I see the homunculus as a metaphor for modem technology with all its wonders and potential horrors. The series of "Homunculus" sculptures which utilize remnants of household appliances and found objects explores this theme in a whimsical fashion. The alchemist searched for the "gold of the philosophers"-philosophical wisdom. In their pursuit of nature's secrets they combined scientific experimentation with a mystical quest for illumination. Their holistic view of the universe viewed matter and consciousness as a continuum, anticipating recent developments in physics. Alchemy is the ancestor of modem science; perhaps there is something that can be learned from its legacy? I am inspired artistically by the beauty of the texts and their insights into the mysteries of creation. Hopefully my own fanciful creations convey something of the spirit of that tradition. (Nez, 1998), http://www.augengallery.com/Artists/nez.html, The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is Lane Arts. You may view their website at http://www.lanearts.org
Oregon State University Libraries University of Oregon Libraries