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61. Variations on the Square
Variations on the Square
Description
Unfortunately, we currently do not have an image of this artwork. The Oregon State University Valley Library, building site for the piece, offers a website where it can be viewed, along with Gilkey's artist statement. http://osulibrary.orst.edu/libraries_and_collection The print presents irregular shapes in red, blue, and neutral tones scattered across a light background. Superimposed on top of the shapes is a transparent-white pattern of square grids in varying sizes and differing degrees of overlap with each other., 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/
62. St. Basil's
St. Basil's
Description
A mostly blue and white print of architectural bulidings. There are a few animals scattered through the piece including two brown birds, one on a grid platform, three birds flying on the right side, one fish, and one frog., Dyann Alkire; Etching-handcolored with watercolor; St. Basil's; 22x26; 1986, I like etching because I like to draw. Things such as deep sea life, insects, birds, fish, and architectural structures appeal to me, and I combine them in my compositions. Each piece has a certain theme that just evolves as I work on the plate, rather than having a set idea from the beginning. (Alkire, 1987), 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
63. Footbridge Number Two
Footbridge Number Two
Description
This black-and-white print depicts a wooden bridge that strectches over a body of water and leads to a forested area where a man stands with a plank in his hands. The scene is inset with three rectangles that present what appears to be black cat and fish-related imagery., Dennis Cunningham; Footbridge No. Two; linocut; 1990; 29 x 29 inches, 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/
64. The Dinner Guest
The Dinner Guest
Description
This print presents a green alligator, wearing a maroon suit jacket and a striped tie, sitting at a dinner table poised to dig into a feast of fish. The pink background is decorated with blue fish., Ms. Cole is an alumni of the University of Oregon's B.F.A. program, 1981. (Information provided by OAC documentation.), http://www.zeekgallery.com/dynamic/artist.asp?ArtistID=80, 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/
65. Portugese Man of War
Portugese Man of War
Description
This composition is split into two distinct sections. The top fifth or so portion of the picture plane comprises the first section, which has a deep blue background and an irregularly shaped object that resembles a potato in form and color. The remainder of the picture plane comprises the second section, and it contains what appears to be a bundle of straw or a swatch of blonde hair over a dark brown background. This is one of two views of this artwork. Variations between duplicate images relate directly to original source materials., Etching, http://www.beppugallery.com/showartists.php?ArtistID=37, 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/
66. Camas
Camas
Description
Camassia Leichtlinii. Large Camas. The Indian name quamash or camass persists in this 1-2' tall perennial arising from deep-seated bulb. Flowers vary anywhere from white to deep blue or violet. Camassia Leichlinii, the larger of our two common species, is distinguished by the withering petals twisting together above the seed capsule rather than falling separately. It ranges west of the Cascades from southern British Columbia to southern Oregon and into Sierran California. The starchy bulb of the camas was a prized staple for the native tribes in the Northwest. Care was required to avoid poisonous bulbs of another lily, the so-called death camas. Gathering camas root was the incentive for annual festivities, migrations to harvest ground where women dug and prepared bulbs (while the men engaged in sport and games). Handles of their digging sticks, fashioned from bone or antler, can be seen in museum collections. The sticks themselves, made of fire-hardened wood crooked and fattened at the end, have not survived so well. To prepare the root it was first cooked, either roasted elaborately in covered pits lined with hot stones, or boiled. It was then crushed in mortars and the gummy mass pressed into slabs for keeping. Hungry fur trapper Alexander Henry, in the Willamette Valley in 1814, tells in is diary of trading blue beads with the Kalapuyans for slabs of the nutritious food. As if to remind us of more meager times, each April and May the stately camas colors moist meadows and prairies, roadside ditches, or the vacant lot behind a supermarket, with handsome blue-violet blossoms. (provided by Oregon Arts Commission), Camas; [no.] 5; 1993, 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/
67. The Fault Line
The Fault Line
Description
A mixed media art piece of exhibiting triangles and rectangles in different sizes and colors, collaged onto each other. The primary colors utilized are reds, pinks, oranges, and blues., James B. Thompson; 22x30 inches; mixed media on paper; The Fault Line; 1990, (1996) James Thompson was born in Chicago, Il. He attended Ripon College, receiving a BA in Art/Art History and MFA from Washington University, School of Fine Arts, St. Louis, MO. He taught at Ripon College, University of Alaska and has been a Professor of, jthompso@willamette.edu, http://www.willamette.edu/cla/art/faculty/thompson/, 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/
68. Africa
Africa
Description
A black, white and brown print of objects floating in the space of the piece. Some of the objects include a coliseum or trellis, a fish, various plant leaves, and a dragonfly., Dyann Alkire; etching; handcolored with watercolor; africa; 1985; 22x26 inches, I like etching because I like to draw. Things such as deep sea life, insects, birds, fish, and architectural structures appeal to me, and I combine them in my compositions. Each piece has a certain theme that just evolves as I work on the plate, rather than having a set idea from the beginning. (Alkire, 1987), 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 visit their website at: http://www.oregonlink.com/arts/index.html
69. Fairmount and Columbia
Fairmount and Columbia
Description
This brightly colored print depicts a street scene where the street weaves in and out of the picture plane. The curves give way to a supporting cast of highly patterned retaining walls and groves of trees. A bright yellow family of ducks crosses the road from the bottom left hand corner of the piece. This piece is one of the Eugene series prints done in collaboration with Bill Bradish. Both McCorkle and Braddish intended to leave Eugene and decided to celebrate and commemorate their time in Eugene by doing an homage of those places in town which they had found representative of the essence of Eugene. Oregon in general seems to be about abrupt geological shifts. This particular intersection, with one street going dramatically up and the other dramatically down, was a visual symbol of that beauty and surprise one associates with Oregon landscape. The duck crossing was borrowed from Patterson near 13th Avenue and imposed upon the more mountainous scene, which was then modified with blue grass to give the ducks a place to go. Basically the artists' intention was to play with space--stretching and mocking the conventions of atmospheric and linear perspective--and to create a playful tribute to an area we both cared about. (author unknown, 1989), Fairmont and Columbia; M.L. McCorkle; reduction linoleum cut; (in collaboration with Bill Bradish); 1988; 16 x 21 inches, http://www.zerodegreesart.com/zeroArtists.php?artist=mmccorkle, 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
70. Pupetta
Pupetta
Description
A black and white etching of a profile of the side of a female's face with long black hair. The background is mostly white but textured with some black patterns. Below the female's chin are the wores "pupetta maresca"., Pupetta; 1997; etching; 5.5 x 6.5 inches, http://www.augengallery.com/Artists/walker.html, 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/
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