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1. Night Games

Description: An oil painting of a carnival during the night. The left side of the painting is of a very colorfully lighted ride with three different chairs that hold two people each. There is also a ferris wheel in the background, along with a target arcade game., #3 Night Games; oil; (36 x 48 inches); 1995, George Johanson attended and taught at the Museum Art School in Portland, Oregon. He divides his time between painting and printmaking. In 1992, he received the Governor's Award for the Arts. (Data provided at http://www.kpchr.org/public/sawardart/apps/Johanson.htm. Reviewed on 04/07/07., http://www.kpchr.org/public/sawardart/apps/Johanson.htm; http://www.hareinthegate.com/portfolio_pages/equivalents.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/

2. Dialogue

Description: An acrylic painting featuring three human figures set against a hand-made brown background with lines of color., Dialogue; [no.] 2; 1993, Angelita Surmon is an Oregon artist who received her B.S. in 1972 and her BFA in 1977, from Oregon State University. She has continued her education at Vermont Studio School, the Sitka Center, and in Papua, New Guinea. (Oregon Arts Commission, 1995), http://www.angelitasurmon.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/

3. September–The Call

September–The Call

Description: This painting depicts a woman with red hair, looking off to the left of the picture plane and wearing a blue sweater that appears to be pieced together over or with areas of blue sky. A total of nine colorful birds share the picture plane with her., September-The Call; Alkyd (oil); (34 x 46 inches ); from the series Saint Eve Book of Days, Katherine Ace was born in Chicago and received a degree in ceramics from Knox College in 1975. She is a self taught painter working in alkyd/oil on canvas. Her work hangs in private, corporate and public collections. Katherine has participated in numerous regional and national individual and group shows. (Unknown, 1995), kat@katherineace.com, http://www.katherineace.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/

4. Fog Bank

Description: This painting depicts a coastal landscape scene in exaggerated tones of blue, turquoise, and ochre. Gentle waves moving toward the shore are outlined with white and thin lines of red., Fog Bank; oil; (24 x 36 inches), http://www.ramsterevents.com/PaulGunn.htm, 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/

5. Symbiosis 1& 2

Description: This pair of paintings is united by elements of line, color, and design. They share a light yellow background that, in both paintings, supports bold black shapes and thin, energetic black lines. The piece on the left contains a large, black "C" with a bright yellow halo in the middle that is flanked on the top by a thick, horizontal black line with a blue halo and on the bottom by a horizontal row of black dots. Another shorter thick, vertical black line with a pink halo occupies the lower right hand corner. The piece on the right contains four thick, vertical black lines. The fattest of the four sits on the left side of the painting. Two slightly skinnier ones sit side by side toward the right. The skinniest one sits even farther to the right, and it is broken up by swatches of gray. Above the the vertical lines on the right, in the upper right corner, sits a grid of nine black dots. Linear washes of orange and green create contrast with the painting on the left while a small square of pink in the painting on the right unifies them., Symbiosis 1& 2; (29 x 35.5 x .5 ea.); 8-96; dry pigment, enamel, gold leaf, varnish on aluminum, Tom Anderson was born in 1951 in Salt Lake City, the son of a jazz musician. By the time the family settled in Vancouver, Washington, Anderson's formative years has been shaped by syncopated rhythm and life on the road (39 states by the age of four). He earned an Associate of Arts degree from Clark College in 1971. part of his education included three months of travel in Europe, where he studied firsthand the works of the great masters. In the autumn of 1971, he enrolled at The Evergreen State College in Olympia, Washington. There, in addition to his Asian art and Philosophy studies, Anderson made some meaningful contributions to the first years of the experimental college's development. He initiated the use of the 16mm animation facilities, helped to establish the FM Radio station KAOS, co-created the four-story library mural, and worked as an assistant graphic designer, developing the College's catalogs and visual identities. He graduated in 1973 with a Bachelor of Arts degree. That same year, Anderson co-founded Mansion Glass Studios in Olympia. This collaboration won recognition locally and nationally for their design and fabrication of Architectural Art Glass commissions, as well as for their restoration projects. Anderson first attended the highly esteemed Pilchuck Glass School in 1986, as a teaching assistant to Henry Halem. He returned in 1987, on a scholarship with Susan Stinsmuhlen-Amend, and again in 1988 and 1989 as a teaching assistant in the advanced graduate program, specializing on glass casting and enamel kiln firing. In 1990, Anderson established his own studio in Olympia. Over the past eight years he has continued his work painting, metal fabrication, mixed media constructions, and printmaking. He is represented by galleries in Oregon, Washington, Florida, New Mexico, and California. In addition to commissions, Anderson exhibits regularly and his work can be found in over 400 public and private collections including the Oregon Arts Commission, the Washington State Arts Commission, Delta Airlines, the city of Olympia, Hewlett Packard, and US Bank. (Uknown, 1995), artist402@comcast.net, http://www.thomasandersonart.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/

6. Equinox

Description: This painting depicts a scene of a person clad in yellow, carrying a yellow umbrella walking hunched over an architecturally ornamented bridge. Dark trees and a gray sky that suggests a city skyline occupy the background. A yellow streak runs through the foreground on the left., Equinox; Oil; (28 x 28 inches); 1996; [no.] 2, Kay Lamoreux Buckner's work has been included in exhibits at the University of Maryland; Seattle Art Museum; St. John's College, Annapolis; Eastern New Mexico University; New Orleans Art Association; Salisbury State University, Maryland; Mercyhurst College, Pennsylvania; University of Washington; Austin Peay State University, Tennessee; Marietta College, Ohio; and Seattle Center. She has had One-woman shows at the Frye Art Museum, Seattle; University of Oregon Museum of Art; University of Idaho; Rockford College, Illinois; and Oregon State University. Her work is in public collections throughout the Pacific Northwest. She has an MFA degree from Clarement Graduate School. (Oregon Art Commission), 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/

7. Pink Hat

Description: This abstract piece depicts what appear to be yellow seed pods on a variegated red background. The upper left corner contains a collection of pink dots., Pink Hat; oil on birch; (24 x 24 inches); 1996, 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/

8. Field Burn II

Description: This painting presents a variegated and textured red surface on the left three-quarters of the picture plane. The remaining quarter of the picture plane on the right presents a succession of vertical stripes of alternating red, ochre, and black., Field Burn II; O/C; (36 x 58 inches); [no.] 7, 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/

9. Palimpsest Bones

Palimpsest Bones

Description: An irregularly shaped painting that divides the picture plane into two sections by way of color placement. The left side of the painting is comprised of a textured, neutral yellow that contains a column of five white squares and a portion of the outline of a blue circle. The right side of the piece is presented in a textured, deep blue that reveals some of the neutral yellow from the left side underneath. Also, a group of five, horizontally oriented red rectangles occupies the right side., Palimsest Bones; acrylic on paper; (46 x 32); [no.] 7, 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/

10. A Private Integrity

A Private Integrity

Description: An acrylic painting featuring two human figures set against hand-made paper with small designs in a lighter color., A Private Integrity; [no.] 4; 1996, Angelita Surmon is an Oregon artist who received her B.S. in 1972 and her BFA in 1977, from Oregon State University. She has continued her education at Vermont Studio School, the Sitka Center, and in Papua, New Guinea. (Oregon Arts Commission, 1995), http://www.angelitasurmon.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/

11. Fire

Description: This painting depicts a ground fire in the understory of a green forest., Fire; oil on canvas; (65 x 70 inches); '95; BroM95090508; [no.] 6, Artist Michael Brophy's "regal, decaying landscapes and portraits of jagged tree stumps spotlight the confluence of humanity and nature. Often enormous in scale and rippling with undercurrents of humor and social commentary, his paintings are included in the collections of Portland Art Museum, Tacoma Art Museum, Microsoft, and other important institutions." (see online biography at http://www.pnca.edu/exposure/stories/26/michael-brophy), http://www.laurarusso.com/artists/brophy.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/

12. Revel

Description: An abstract art piece composed from numerous colored dots to form various shapes, mostly abstract. There are two defined horn shapes in an orange and black coloring with the back curves facing each other., Jack Portland graduated from the Pacific Northwest College of Art in 1971 and has worked in a variety of media, most recently fresco. His interest in fresco comes from frequent trips to Italy and a summer fresco project he worked on at the Academic Caerit, http://www.laurarusso.com/artists/portland.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/

13. By the Edge of the Sea

By the Edge of the Sea

Description: An oil painting of a man placed in what appears to be a tropical setting, playing a gold colored flute. Only his hands and head are visible. Surrounding the figure are large green leaves with two red cardinals sitting in the tree., http://www.maryjosephson.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/

14. Cobra Tea Set

Description: A still life acrylic painting from an aerial view. Three tea kettles and two bowls encircle a glass vase with orange flowers, green stems, and yellow buds protruding out of the vase. The whole still life is laid out on a white sheet., Cobra Tea set; 1996; oil on canvas; (24 x 36 inches), A native of Portland, OR, Sherrie Wolf received her BFA in 1974 from Pacific Northwest College of Art in printmaking and then furthered her studies at the Chelsea College of Art in London where she received her MA degree. During her time at PNCA she studied etching and worked in this medium through the 80's. She had a brief tenure of teaching at PNCA through 1986. Since the late 80"s, the focus of Sherrie Wolf's art has been painting and drawing. Many local and national corporations as well as many private collectors have collected her rich, elegant superrealistic works on canvas and paper. (Oregon Arts Commission, 1995), http://www.sherriewolfstudio.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

15. Sweet Delicata

Description: Still life oil painting that includes a large glass vase with a handle, holding multiple red flowers and stems. Surrounding the vase are pumpkins and gourds, some on a plate. There are also four green apples located near the bottom of the painting., Sweet Delicata; o/c '96; (48 x 60 inches), Shelly Jordon, a native New Yorker, moved to Oregon in 1986 to accept a teaching position in the Art Department at Oregon State University where she is currently an Associate Professor of Art. A recent recipient of an Oregon Art's Commission "Individual Artist Fellowship in Painting" award, she was chosen to be a Visiting Artist at the American Academy in Rome in 1994, where she spent three months living and painting. Her work has been exhibited in museums and galleries across the country including the Adam Baumgold Gallery in New York City, the William Sawyer Gallery in San Francisco, the Maryhill Museum of Art in Goldendale, WA, the Linda Hodges Gallery in Seattle, WA and the Augen Gallery in Portland. Her work is included in numerous public and private collections nationally. She is currently working towards a one-person exhibition at the Frye Museum of Art in Seattle, WA and at the Holter Museum of Art in Helena, Montana., 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/

16. The Source

Description: An oil painting of three human figures; the tallest one wearing a dark blue robe. The figure to the viewer's right is only visible by the face, and the one kneeling down is wearing a red robe with a red hood. There is a teardrop-like shape with geometrical shapes to form human faces., The Source; 1980; oil on canvas; (34 x 48 inches); 735 NW 28th Corvallis, OR, 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/

17. AM Transport

Description: This painting depicts a nighttime scene on a blue, fortified bridge. A man in a black hat is inserted into the expanse of the bridge form, toward the left of the picture plane. The background is made up of what appears to be a dark hill with sporadic lights across it., A.M. Transport; Oil; (39 x 51 inches); 1993; [no.] 7, Kay Lamoreux Buckner's work has been included in exhibits at the University of Maryland; Seattle Art Museum; St. John's College, Annapolis; Eastern New Mexico University; New Orleans Art Association; Salisbury State University, Maryland; Mercyhurst College, Pennsylvania; University of Washington; Austin Peay State University, Tennessee; Marietta College, Ohio; and Seattle Center. She has had One-woman shows at the Frye Art Museum, Seattle; University of Oregon Museum of Art; University of Idaho; Rockford College, Illinois; and Oregon State University. Her work is in public collections throughout the Pacific Northwest. She has an MFA degree from Clarement Graduate School. (Oregon Art Commission), 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/

18. Grazing

Description: This impressionistic painting combines reds, oranges, and blues to create an atmosphere for two forms walking toward each other. The three-quarter view of another individual is visible in the bottom, right corner., http://www.froelickgallery.com/Artist-Detail.cfm?ArtistsID=243, 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/

19. Toccata

Description: An abstract acrylic painting of what appears to be a large leaf floating atop water painted in blue, green, and yellow., Toccata; acrylic on canvas; (49 x 45 inches); '96; ParL96032601, Lucinda Parker received her M.F.A. from the Pratt Institute in New York in 1968 and started work as a professor at the Pacific Northwest College of Art in Portland in 1974. Her work has been exhibited in numerous one-person shows throughout the west as well as several exhibitions nationally, including the David Findly Gallery and Sue Ellen Haber Gallery in New York, the Seattle Art Museum, the Corcoran Gallery in D.C., and the First Western States Biennial, that traveled to San Francisco, Denver, and Washington D.C. Lucinda Parker's public commissions can be seen in Portland: "Riversong" for the Oregon Convention Center, "Talking Leaves" for the Multnomah Co. Midland Library, and "City Rose & Rose City" for the renovated Portland City Hall. The Portland Art Museum honored her with a mid-career retrospective in 1995.<br>http://www.pnca.edu/exposure/stories/18/embodying-exuberance, http://www.arcticrefugeart.org/parker/par_vita.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/

20. Ile Gorie

Description: An oil painting of a dark human figure playing a stringed instrument with a bow, riding a large horse with a red and green tussle hanging from each side of it's mouth. Behind the human figure is a large orange leopard-like cat with large teeth on top of the horse as well., Ile Goree; (54 x 72 inches); oil/canvas; 1997, “Most of my art, in some way or another, tries to answer the question, ‘Who am I?’” says Smith, looking at a particularly aggressive piece that he painted in 2006 called “The Lower 9th.” The large oil-on-canvas features a pastiche of what he calls “derogatory caricatures” (including Aunt Jemima and “black-face” characters) surrounded by images of forgotten souls swept away in Hurricane Katrina. “I’d hate to think that my history began with slavery,” says Smith. “To me, that is a lie. But the remnants still exist today, especially in the way we have been depicted in culture. This is what I try to explore in my work.” (excerpt from online biography at http://www.pnca.edu/exposure/stories/216/arvie-smith), 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/

21. Power Station

Description: A water color painting of a power station amongst brown and green patches on the ground. In the background are mountaneous structures below a cloudy sky., Transformer, Oregon Desert; [no.] 8; '93; watercolour; (40 x 60 inches), http://artistsregister.com/artists/OR9, 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/

22. Marquesian Memory

Marquesian Memory

Description: An acrylic painting of what appears to be three surfboards, each featuring a different color pallet and in various sizes., Marqusian Memory; 1989; acrylic on canvas; (73 x 80.5 inches), http://www.alysiaducklergallery.com/Artist-Detail.cfm?ArtistsID=388, 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/

23. Good Ol’ Boys

Description: An oil painting featuring six men, who appear to be celebrating. There is an American flag in the background., Good Ol' Boys; 1995; oil on canvas; Inv. #07, 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/

24. Ship of Fools

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 Bartow's artist statement. http://osulibrary.orst.edu/libraries_and_collection The piece is a surrealistic line drawing that appears to include a man with a bird's head, at least one other human figure, a head with a shovel positioned over the forehead, and a wheel form., The frailty of life on this planet and the need to recognize the interconnectedness of all species are common threads that weave through Bartow's work. His Yurok Indian heritage and his experiences in Vietnam are the source of these feelings and nurture his imagery. Crow/raven and a pantheon of other animals, including man, figure prominently in his work. He reanimates the ancient myths of Northwest peoples into his visual language. Once the symbol of rebirth and the spirit of all life, crow is a ghost-like figure in this monotype who knows "he" is no longer central to our lives. (OAC documentation, 1990). A Vietnam veteran and a Yurok tribal member, he addresses grief and fear in his work as means to dismantling them. His work is represented by Froelick Gallery and Stonington Gallery. (Data provided at http://www.npr.org/programs/talkingplants/features/2003/bartow/index.html. Reviewed on 04/09/07.), http://www.froelickgallery.com/Artist-Detail.cfm?ArtistsID=227, 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/

25. Nataki

Description: An acrylic painting of a dark female human figure, who looks to be nude. She is sitting on an abstract platform, leaning over with her left hand on her right knee and her right elbow leaning on that same knee with that hand resting against her right cheek. The rest of the piece is abstract in brush strokes of white, orange, and browns., Fig. #255-Nataki; acrylic on paper; (6.5 x 6.5 inches); Inv. #71, http://www.froelickgallery.com/Artist-Detail.cfm?ArtistsID=243, 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/

26. Alice’s Stray Hair

Alice’s Stray Hair

Description: A very abstract acrylic painting on three different rectangular panels. The colors that are most apparent are red, yellow, black, and blue., Alices Stray Hair; [no.] 2; 1992; acryl/doors; (7'6 x 6' x 8 inches), http://www.destroyallguitars.com/pages/pheo.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/

27. Spell of the Magic Play

Spell of the Magic Play

Description: A detail view from the lower left corner of Spell of the Magic Play, which combines three-dimensional renderings of geometric shapes with carefully painted landscape scenes. The geometric shapes break the confines of a conventional picture plane to create an irregular perimeter to the piece. A bright color palette sets off the exposed wood of the piece., detail: Spell of the Magic Play;, (1996 press release from Oregon Economic Development Department, Salem, OR) George Green has, for the past twenty years, been a leader in the development of new forms of tromp l'oeil illusionism (painting with photographically realistic detail). Green has had over 50 national and international solo exhibitions and is represented in 44 museum collections including the Guggenheim Museum, the Chicago Art Institute, The Denver Art Museum, the Los Angeles County Museum, and the Detroit Institute of the Arts. He has been represented by the Meyerson Nowinski Gallery in Seattle, and the Louis K. Meisel Gallery in New York City. George Green was born in Portland, Oregon in 1943., http://www.bernarduccimeisel.com/artistImages.php?id_artist=8, 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/

28. Spell of the Magic Play

Spell of the Magic Play

Description: This painting combines three-dimensional renderings of geometric shapes with carefully painted landscape scenes. The geometric shapes break the confines of a conventional picture plane to create an irregular perimeter to the piece. A bright color palette sets off the exposed wood of the piece., Spell of the Magic Play; 1997; acrylic/birch; (43.5 x 77 inches), (1996 press release from Oregon Economic Development Department, Salem, OR) George Green has, for the past twenty years, been a leader in the development of new forms of tromp l'oeil illusionism (painting with photographically realistic detail). Green has had over 50 national and international solo exhibitions and is represented in 44 museum collections including the Guggenheim Museum, the Chicago Art Institute, The Denver Art Museum, the Los Angeles County Museum, and the Detroit Institute of the Arts. He has been represented by the Meyerson Nowinski Gallery in Seattle, and the Louis K. Meisel Gallery in New York City. George Green was born in Portland, Oregon in 1943., http://www.bernarduccimeisel.com/artistImages.php?id_artist=8, 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/

29. Hypercenter

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 Grumm's artist statement: http://osulibrary.orst.edu/libraries_and_collection The painting presents three distinct sections. The top layer consists of a textured red, the middle layer contains what appears to be power lines against a stormy sky, and the bottom layer contains repeated red forms that resemble a portly, genderless human with it's arms and legs outstretched over a neutral background. In the foreground, intersecting all three sections stands a water tower., http://artscenecal.com/ArtistsFiles/GrummT/TGrumm.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/

30. On the Lagoon

Description: An oil painting of a man placed in what appears to be a tropical setting. Red tones are primary. Surrounding the man's head, neck and upper torso are leaves and flowers., http://www.maryjosephson.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/

31. Simply Ravenous

Simply Ravenous

Description: An oil painting depicting a ravenous restaurant scene., Simply Ravenous; (32 x 76 inches); 1994; oil, 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/

32. Fig. 180

Description: This impressionistic painting depicts a person sitting with his/her elbow resting on his/her knee, which in turn, supports his/her head. The color palette used is mostly a warm one, with subtle accents of blue and purple., http://www.froelickgallery.com/Artist-Detail.cfm?ArtistsID=243, 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/

33. Port of M. Munger

Port of M. Munger

Description: The painting presents what appears to be a view of a port establishment from the water, as if approaching from shore from a boat or ship. The color palette consists of muted neutral tones, grays, blacks, and whites, along with accents of red., http://artscenecal.com/ArtistsFiles/GrummT/TGrumm.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/

34. Untitled

Description: This oil painting depicts an Oregon rain forest, which is largely coniferous, showing Douglas Fir, Western Red Cedar, West Coast Hemlock and Western Yew. The painting features loggers of the early 1900s walking out of the woods on an old skidrow. "These roads were built in the days of horse and oxen logging, constructed of small logs to ease the drag of the logs being pulled by the animals and to keep the logs from miring down in the mud. The tools being carried by the loggers are: Springboards; usually 2" x 8" -5' to 6' long, rounded at one end where a half-moon sharpened, knife-edged steel blade was attached to bite into solid wood in the notched tree trunk; they also carried crosscut saws, and bottles of kerosene used to free saws of pitch, sledges for driving wedges and a can of kerosene. The packs were used for lunched, extra wedges, miscellaneous tools, undercutters (for the buckers) drinking water, etc." (Background information provided by the Oregon State Library, see http://osulibrary.orst.edu/libraries_and_collections/art/info.html#Brauner), Ken Brauner was born in Corvallis, Oregon. A veteran of World War II, he returned to Oregon and worked in the timber industry for 30 years. His only formal art training was obtained at the University of Oregon, where he was a student for a few years after getting out of the Army infantry., http://www.kenbrauner.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/

35. Stop, Look and Listen

Stop, Look and Listen

Description: This painting depicts what appear to be two female figures shrouded by the cloak of night on the beach. The figure on the left wears a red shirt and brown pants, while the figure on the right wears a yellow shirts and blue pants. The figure on the left stands upright with her left arm extended behind her, holding a shovel. Her other hand cups her ear, as if she were listening for something. The other figure bends low with a tool in her hands., Stop, Look and Listen; acrylic on canvas; (72 x 81 inches); unstretched; CaiS96042901, Sean Cain received a B.F.A. from the Pacific Northwest College of Art in 1994 after studying for two years at the School of the Art Institute of Chicago. He has shown in Oregon at the Laura Russo Gallery as well as the Art Gym, Maryhurst College, the Corvallis Art Center, and Artquake 1994, Portland. As a promising emerging artist, Sean Cain has caught the eye of the public and has warranted reviews in Willamette Week, Artweek, the Oregonian, and Reflex. He works in a classical tradition rendering the figure in statuesque poses depicted in rather stark light that allows for a beautiful chiaroscuro. Using the paint thinly, layering like washes, he paints colors which enhance the atmospheric other-worldliness of his work. Cain combines surrealism, humor, and a high level of craftsmanship to attain a compelling and heroic narrative. (Oregon Arts Commission), 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/

36. Untitled

Description: An acrylic painting of canvas that is divided down the middle. The left side of the painting is primarily white, with eggs stacked in a glass, next to two green apples on a white marble-like table, against a white wall. The right side of the painting features thick vertical rectangles of the colors of gold, blue, and dark red., Untitled (interior with eggs and apples); acrylic on canvas; (47 x 51 inches); 1994; HalS98012104, The paintings of Sally Haley are much loved in the Northwest, partly at least because she often (but not always) has painted familiar domestic objects-bread, eggs, bottles, fruit, dishes, the simple, reassuring, eternal things. And she paints them with mastery so admirable that our response is a combination of delight and awe. They appear in a variety of settings and con-formations: a loaf of bread may almost fill its small canvas; a stemmed glass containing, quite surprisingly, five eggs, and standing alone, with mysterious iconic overtones, in a vast dark space; or a group assembled on a table in Haley's own subtle version of the still life. But there is a great deal more to her art than the masterly rendition of familiar objects. Many of her canvases, entirely bare of objects, are seen from, as one might say, a much wider angle; they are interiors divided into austere geometric shapes which suggest corridors, walls, windows, doors. This artist is certainly drawn by the basic architectural features of interiors, and to their meanings: the universal vertical and horizontal planes of wall and floor, the advance of corridors, the promise of doorways, the rectangles of sky disclosed by windows. She makes her own perspective, often puzzling, sometimes disquieting. In most of her painting there is…a sense of something, withheld or barely suggested, of questions unanswered, though: everything in the painting exists under the most unequivocally revealing light. Yet the surreal hovers near, is waiting in the wings, so to speak, and is sometimes evoked. At any rate, on feels , http://www.laurarusso.com/artists/haley.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/

37. Parrot Tulips II

Parrot Tulips II

Description: A watercolor painting of a flower still life on top and in front of a white sheet. The blue/green glass vase contains multiple flower variations in yellow, purple, white, and red., Parrot Tulips II; wc; (30 x 23 inches); '95; [no.] 10, A native of Portland, OR, Sherrie Wolf received her BFA in 1974 from Pacific Northwest College of Art in printmaking and then furthered her studies at the Chelsea College of Art in London where she received her MA degree. During her time at PNCA she studied etching and worked in this medium through the 80's. She had a brief tenure of teaching at PNCA through 1986. Since the late 80"s, the focus of Sherrie Wolf's art has been painting and drawing. Many local and national corporations as well as many private collectors have collected her rich, elegant superrealistic works on canvas and paper. (Oregon Arts Commission, 1995), http://www.sherriewolfstudio.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

38. Ruby Wind

Description: The color choice and order of application in this abstract painting suggest a landscape scene. Thick brush strokes describe dark blue that gives way to an aqua tone, which then gives way to ochres and browns., Ruby Wind; Acrylic on wood; (18 x 20 inches); [no.] 5, Kay French grew up in the Midwest which perhaps explains her fascination with storms and flat land. She moved to Portland in 1977. Kay has a degree in art history from Kent State University and a degree in painting from the Pacific Northwest College of Art. Her work has been exhibited in various shows in regional galleries and museums. She was awarded a WESTAF/NEA Regional Fellowship for Visual Artists in Painting in 1994. She has also been represented by the Pulliam Deffenbaugh Gallery in Portland, OR. (Oregon Arts Commission), http://pulliamdeffenbaugh.com/Artist-Detail.cfm?ArtistsID=162, 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/

39. Silver Creek 584 (305)

Silver Creek 584 (305)

Description: An abstract acrylic painting featuring different shades of blues with a few orange streaks., Silver Creek Series 584 (305); acrylic on canvas; (41 x 60.75 inches); '88; MorC97051621, Morris was a realist painter who moved into the world of abstract expressionism later in his life., http://www.usbr.gov/museumproperty/art/biomorri.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/

40. Orange Hat

Description: An orange brimmed hat with a black thick band above the brim. The hat is untethered. There are straight lines cutting through the entire piece segmenting the colors into different geometric shapes., Michele Russo was born in Waterbury, Connecticut in 1909. In 1930, he enrolled at Yale University and received a B.F.A. degree in painting in 1934. During the depression years he was employed at a muralist through a Works Progress Administration project and in this capacity executed murals in several Connecticut schools. In 1937, Russo left Connecticut to accept a fellowship to study with Boardman Robinson and George Biddle at the Colorado Springs Fine Arts Center in Colorado Springs, Colorado for one year. During the next ten years he was a social activist and worked for the Federal Education project in Connecticut. In the fall of 1947, Russo moved to Portland and was hired by the Museum Art School the following year to teach painting and art history, remaining on the staff until he retired in 1974. During his tenure at the Museum Art School he became known as Portland's most articulate voice of artists' political, social and artistic rights. In the 1950's, along with friends, he started a co-op op professional artists called Artists Equity. In recent years Russo has been active in various organizations to make art a more visible part of the cultural life in the Northwest; he was one of the original founders of the Portland Center for the Visual Arts. In 1975, he was Chairman of the Oregon Committee for Art in Public Places. In 1977, he was appointed to the Metropolitan Arts Commission; the first artists so honored. (Unknown, 1995), http://www.aaa.si.edu/collections/oralhistories/transcripts/russo83.htm; http://www.laurarusso.com/artists/russo.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/

41. Storm Dairy Farm

Storm Dairy Farm

Description: A dark painting of what looks like stormy weather above a large landscape of grass and trees. The sky takes up most of the art piece, with the middle of the sky the darkest, such as the eye of the storm., Storm Dairy Farm/Puget Is; 1996; pastel/colored pencil; (19 x 29 inches), http://www.davidsongalleries.com/artists/cleveland/cleveland.html; http://www.augengallery.com/Artists/cleveland.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/

42. Original Inclination

Original Inclination

Description: This impressionistic painting depicts the silhouette of a dog among a mostly warm background accented in pale blue., http://www.froelickgallery.com/Artist-Detail.cfm?ArtistsID=243, 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/

43. The Flock

Description: This abstract piece presents three, black feather-like shapes near the center of the picture plane on a variegated, light yellow background. A black band tops the piece. All three feather-like shapes sit on a diagonal toward the right, and they are surrounded by a pink glow. At least six other irregular shapes, rendered in black, white, and brown, occupy the space between the feather-like forms and the black band at the top., The Flock; (68 x 48 x 1.5); 12-95; mixed media, enamel, metal leaf, dry pigment, varnish on aluminum, Tom Anderson was born in 1951 in Salt Lake City, the son of a jazz musician. By the time the family settled in Vancouver, Washington, Anderson's formative years has been shaped by syncopated rhythm and life on the road (39 states by the age of four). He earned an Associate of Arts degree from Clark College in 1971. part of his education included three months of travel in Europe, where he studied firsthand the works of the great masters. In the autumn of 1971, he enrolled at The Evergreen State College in Olympia, Washington. There, in addition to his Asian art and Philosophy studies, Anderson made some meaningful contributions to the first years of the experimental college's development. He initiated the use of the 16mm animation facilities, helped to establish the FM Radio station KAOS, co-created the four-story library mural, and worked as an assistant graphic designer, developing the College's catalogs and visual identities. He graduated in 1973 with a Bachelor of Arts degree. That same year, Anderson co-founded Mansion Glass Studios in Olympia. This collaboration won recognition locally and nationally for their design and fabrication of Architectural Art Glass commissions, as well as for their restoration projects. Anderson first attended the highly esteemed Pilchuck Glass School in 1986, as a teaching assistant to Henry Halem. He returned in 1987, on a scholarship with Susan Stinsmuhlen-Amend, and again in 1988 and 1989 as a teaching assistant in the advanced graduate program, specializing on glass casting and enamel kiln firing. In 1990, Anderson established his own studio in Olympia. Over the past eight years he has continued his work painting, metal fabrication, mixed media constructions, and printmaking. He is represented by galleries in Oregon, Washington, Florida, New Mexico, and California. In addition to commissions, Anderson exhibits regularly and his work can be found in over 400 public and private collections including the Oregon Arts Commission, the Washington State Arts Commission, Delta Airlines, the city of Olympia, Hewlett Packard, and US Bank. (Uknown, 1995), artist402@comcast.net, http://www.thomasandersonart.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/

44. Kampher’s Lot

Description: Muted pastel tones comprise this urban landscape piece that depicts a group of shurbs against what appears to be a concrete wall. The foreground presents a sidewalk with a small tree growing from an enclosed circle. The sky is a light, grayish-blue, and it hints at the silhouettes of power lines., http://artscenecal.com/ArtistsFiles/GrummT/TGrumm.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/

45. Winter Hills

Description: A watercolor painting of a snowy landscape. There is a barn house surrounded by complete whiteness of snow and some green trees. In the foreground are some green tufts of grass. The background contains blue-ish hills covered in forest., Winter Hills; transparent watercolor; 24 x 30 inches (image 19 x 25 inches); [no.] 3, 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