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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. Unclassified Reflections (title page)

Unclassified Reflections (title page)

Description: This black-and-white print presents a succession of alternating linear forms., Title Page, Unclassified Reflections, 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. Heart

Description: A black and white photograph from inside a cave featuring different forms and patterns caused by erosion. There are also crystals growing up from the ground., Heart; 1995; [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. You may view their website at: http://www.artcentric.org/

4. 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/

5. Salmon Prince

Description: A blue and white print of large trout-like fish underneath a human figure wearing a patterned toga, holding a pole with a fish at the top of it. Flying over the human figure are more fish., Salmon Prince; 1997; (mm 30 x 22 inches); Quartersaw Gallery; 528 NW 12th PDX 97209, 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. Naga (1st of 2 pieces)

Naga (1st of 2 pieces)

Description: A tall steel sculpture with a round platform.The majority of the sculpture is rectangular shapped with an upsidedown moon shape at the top. The steel is covered in gold leaf., Naga; 1997; gold leaf over steel; (62.5 inches high, 2 parts); Elizabeth Leach Gallery, 207 SW Pine St., Portland, OR 97204, (503) 224-0521; fax: 224-0844, http://www.pnca.edu/exposure/stories/19/lee-kelly-59, http://www.elizabethleach.com/Artist-Detail.cfm?ArtistsID=129, 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. The Same But Different

The Same But Different

Description: This print divides the main picture plane from the surrounding decorative border of images geometrically. The main picture plane, a vertical rectangle, occupies the center of the piece, and it depicts a landscape scene over a body of water. Cliffs line either side of the water, while trees form a horizon line. A fisherman stands on one of the cliffs on the right side, and two fish and a dragon fly occupy the space above the water. Two horizontal rectangles flank the upper and lower sections of the piece, and the main picture plane is flanked by a series of squares and rectangles. The shapes that create the border around the main picture plane contain a conglomeration of natural and geometric forms., The Same But Different; linocut print; (46 x 22 inches(image)); edition of 20; 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. In France

Description: A colorful print of a long black and white vase containing red and pink flowers against a half orange/pink and half blue/green colored background. The vase is atop a green, yellow, white, and pink painting with a shadow of the vase pointing towards the lower left of the art piece., In France; 1995; monoprint; (30 x 22 inches); [no.] 9, http://www.augengallery.com/Artists/nebeker.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/

9. Saddle

Description: A black and white photograph from inside a cave. The photograph is of crystals growing on the walls, ground, and ceiling., Saddle; 1995; [no.] 2, 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. 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/

11. Unclassified Reflections "E"

Unclassified Reflections "E"

Description: This black and gray print on neutral paper presents a repetative, geometric pattern. Numbers and symbols emerge from the overall noise of the pattern., Unclassified Reflections E, 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. Unclassified Reflections "A"

Unclassified Reflections "A"

Description: This black print on neutral paper presents a repetative, geometric pattern., Unclassified Reflections A, 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. Basalt Clastics

Basalt Clastics

Description: A photograph of dark basalt rocks emersed in fast-paced water, or perhaps a small waterfall., Basalt Clastics, Ecola State Park; 1994; gelatin silver print; (24.75 x 18.75 inches); Elizabeth Leach Gallery, 207 SW Pine St., Portland, Oregon 97204; (503) 224-0521, http://www.historycooperative.org/journals/ohq/105.3/toedtemeier.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/

14. 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/

15. 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/

16. Unclassified Reflections "C"

Unclassified Reflections "C"

Description: This black print on neutral paper presents a repetative, geometric pattern that becomes increasingly complex with the addition of a grayscale within the defined pattern, which ascends from the bottom left toward the top right., Unclassified Reflections C, 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. Naga (2nd of 2 pieces)

Naga (2nd of 2 pieces)

Description: A tall steel sculpture with a round platform.The majority of the sculpture is rectangular shapped with an round shapes and a three leaf clover shape at the top. The steel is covered in gold leaf., Naga; 1997; gold leaf over steel; (62.5 inches high, 2 parts); Elizabeth Leach Gallery, 207 SW Pine St., Portland, OR 97204, (503) 224-0521; fax: 224-0844, http://www.pnca.edu/exposure/stories/19/lee-kelly-59, http://www.elizabethleach.com/Artist-Detail.cfm?ArtistsID=129, 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. Summertime II

Description: A stainless steel sculpture hanging on a wall. The sculpture looks to be in two long rectangular parts on top of one another. The sculpture is in neutral colors and curves in and out., Summertime II; 1994; (24 x 13 x 3 inches); press formed stainless, polished, burnished, heat, From 1997 - 2005, Bruce West was Head of the Sculpture Department and Senior Lecturer at Lewis & Clark College in Portland, Oregon., 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

19. 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/

20. 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/

21. 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/

22. Untitled

Description: This print presents a gray monochrome abstraction that suggests a dynamic landscape., http://www.jameslavadour.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/

23. Waldo Lake Reflected

Waldo Lake Reflected

Description: A colored photograph of a waterscape with rocks in the foreground, and island with trees in the middleground, and large hills of forests in the background. All the trees and hills of forests, along with the clouds are reflected perfectly in the blue lake., Waldo Lake Reflections; 1996 (yr), 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. Wind Catcher

Description: A polished, metal sculpture that appears to mimic the shape of a sling shot. A bowed band of metal suggestion tension and movement between the arms of the "slingshot.", Wind Catcher; [no.] 7; 1988, http://www.wbblix.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/

25. Hounding

Description: This charcoal drawing depicts a teeming pack of dogs. The drawing appears to reveal evidence of a motion study, where the forms have been sketched, erased, and then sketched again, emphasizing the dynamic energy of the subject matter., Hounding; Charcoal; (92 x 44 inches); 1993, Clint Brown has been a professor of art at Oregon State University, where he has taught drawing, painting, and sculpture since 1970. He served as a Fulbright Exchange Professor at Trent Polytechnic (now Nottingham Trent University) in Nottingham, England, and has taught art as Seattle Pacific University and University of Southern California. He is author of Drawing from Life (Harcourt Brace, second edition 1996) and editor of Artist to Artist: Inspiration and Advice from Artists Past and Present (Jackson Creek Press 1998). His art work had been exhibited widely throughout the West. His drawings on the AIDS pandemic, The Plague Drawings, traveled to Japan,, http://www.clintbrownartist.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/

26. Unclassified Reflections "B"

Unclassified Reflections "B"

Description: This black print on neutral paper presents a repetative, geometric pattern that becomes increasing complex with the addition of a grayscale within the defined pattern. Different, irregular shapes begin to emerge from the pattern, which are connected through line., Unclassified Reflections B, 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. 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/

28. Leaf Branch

Description: This freestanding, stainless steel sculpture presents a vertical length of alternating leaves mounted on a pedestal., From 1997 - 2005, Bruce West was Head of the Sculpture Department and Senior Lecturer at Lewis & Clark College in Portland, Oregon., 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

29. Ejiri-Pines of Miho Bay

Ejiri-Pines of Miho Bay

Description: Ejiri lies across Shimizu Bay from Okitsu, home of the Japanese inn made famous by Oliver Statler's novel. The legendary pines of Miho now witness freighters entering and leaving the bay. Ejiri is the 19th station of the Tokaido., Tokaido Series: Ejiri-Miho; [no.] 6, During the summer of 1984, Walt Padgett bicycled and camped Japan's Tokaido, documenting the famous "53 Stations of the Tokaido" prints of Ando Hiroshige and Junichiro Sekino. Since that time Mr. Padgett has been producing his own series of woodblock prints from his travels on this historic highway. The Tokaido, literally the "eastern sea route" stretching 320 miles, has provided the main link between the cities of Kyoto and Edo (Tokyo) for a thousand years. Although many Japanese artists have produced work drawn from the Tokaido, its landscape, its people, its history, still provide a rich source of subject matter, especially to the foreign eye of an American. Mr. Padgett utilizes authentic Japanese handmade chisels, brushes, and paper, in the manufacture of his prints; the blocks are hand-carved, the prints hand-burnished by the artist, in the sosaku hanga tradition. (Oregon Arts Commission), http://www.padgettart.com/news.php, 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. Fence 36-323

Description: A mixed media construction that organizes discarded materials within a black grid pattern., Fence; Francine Seders Gallery, Seattle, (206) 782-0355; 36-323; mixed media; 1995; unfr.: 51 x 51 in., http://www.sedersgallery.com/Artists/036/36-000.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/

31. Contraction Fracture

Contraction Fracture

Description: A silver printed photograph of a vast, empty landscape. The ground is cracked, with a few tufts of plant material growing out of some of the cracks., Contraction Fracture, Malhuer Co., OR; 1994; gelatin silver print; Elizabeth Leach Gallery, 207 SW Pine St., Portland, Oregon 97204; (503) 224-0521, http://www.historycooperative.org/journals/ohq/105.3/toedtemeier.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/

32. 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/

33. Fence 36-323 (detail #1)

Fence 36-323 (detail #1)

Description: This view represents a detailed section of the mixed media construction, Fence 36-323, that organizes discarded materials within a black grid pattern., detail #1 Fence; Francine Seders Gallery, Seattle, (206) 782-0355; 36-323; fabric & mixed media; 1995, http://www.sedersgallery.com/Artists/036/36-000.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. Forsaken

Description: In this charcoal drawing, a skeleton clad in black robes holds a sickly man in his arms. Double-headed dogs circle the skeleton anxiously while a group of gray human figures with their backs turned to the audience form a background for the scene., Forsaken; Charcoal; (44 x 66 inches); 1993, Clint Brown has been a professor of art at Oregon State University, where he has taught drawing, painting, and sculpture since 1970. He served as a Fulbright Exchange Professor at Trent Polytechnic (now Nottingham Trent University) in Nottingham, England, and has taught art as Seattle Pacific University and University of Southern California. He is author of Drawing from Life (Harcourt Brace, second edition 1996) and editor of Artist to Artist: Inspiration and Advice from Artists Past and Present (Jackson Creek Press 1998). His art work had been exhibited widely throughout the West. His drawings on the AIDS pandemic, The Plague Drawings, traveled to Japan,, http://www.clintbrownartist.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. 1996-#7

Description: An oil crayon drawing of the outdoors with a large river as the lower portion of the art piece. In the water are two islands, on both the left and right side of the piece with multiple trees growing on the islands. Where the river ends at the side, are more trees, which may be a forest, in front of a mountainous scape. The rest of the piece, which is most of it, contains the blue sky and white clouds., # 7; 1996; oil crayon on paper; (9 x 12 inches); Inv. #16, http://pnca.edu/programs/bfa/faculty.php, http://www.froelickgallery.com/Artist-Detail.cfm?ArtistsID=248, 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. 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/

37. 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/

38. Unclassified Reflections "D"

Unclassified Reflections "D"

Description: This black and gray print on neutral paper presents a repetative, geometric pattern superimposed with large, curvy lines., Unclassified Reflections D, 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. Crease (detail)

Crease (detail)

Description: A close-up view of a female figure with short dark hair working on what looks to be a sewing machine. The piece is in all neutral colors., Crease (detail); tapestry; 1997, http://www.americantapestryalliance.org/AP/ArtistBio/SocolofskyS.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. Cul De Sac

Description: Beyond what has been provided herein, we have no additional information regarding this artwork., Mark Abrahamson was born in Seattle, Washington in 1944. He received a BA degree in chemistry from Whitman College, Walla Walla, WA. in 1966 and a DDS degree from the University of Washington in 1970. In 1987 he received a grant from the Seattle Arts Commission, in 1991 and 1995 he was awarded GAP Grants from Artists Trusts, and also in 1995 a Washington State China Relations Council Travel Grant. (Unknown, 1995), http://www7.nationalacademies.org/arts/Mark_Abrahamson.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. 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/

42. Home Creek Canyon

Home Creek Canyon

Description: This piece is based on a wilderness study area in the areas of Steens Mountain southeastern Oregon. The particular site of this photograph depicts the remnants of a homestead from the heyday of dryland farming. All that remains is evidence of the root cellar and some trees that are not native to the geographic region of this site. Many of the named plants have disappeared from this location and others like where at one time they were abundant. (Warpinski), Home Creek Canyon . . . Detail'; mixed media collage; 1997; [no.] 2, 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., http://www.uoregon.edu/~tlw/; 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: Linn-Benton Arts. You may view their website at: http://www.artcentric.org/

43. 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

44. Matinee Idol (rear view)

Matinee Idol (rear view)

Description: An abstracted bronze sculpture with the base being a large 'x' with five red squares surrounding the right leg of the 'x'. Above that are more bronze shapes and plates with a yellow and purple object in the middle. It is as if this bronze sculpture is holding this yellow and purple object, maybe as a shield., Untitled; [no.] 6; rear view, Tom Morandi received his B.S. in Art Education from Indiana University of Pennsylvania in 1966 and his M.F.A. in Sculpture from Ohio University in 1971.He has been a Professor of Art at Oregon State University since 1989., tmorandi@comcast.net; tmorandi@oregonstate.edu, http://www.tommorandi.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/

45. Matinee Idol (front view)

Matinee Idol (front view)

Description: An abstracted bronze sculpture with the base being a large 'x' with five red squares surrounding the right leg of the 'x'. Above that are more bronze shapes and plates with a yellow and purple object in the middle. It is as if this bronze sculpture is holding this yellow and purple object, maybe as a shield., Untitled; [no.] 2; front view, Tom Morandi received his B.S. in Art Education from Indiana University of Pennsylvania in 1966 and his M.F.A. in Sculpture from Ohio University in 1971.He has been a Professor of Art at Oregon State University since 1989., tmorandi@comcast.net; tmorandi@oregonstate.edu, http://www.tommorandi.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/

46. Careful What You Wish For

Careful What You Wish For

Description: A black and white etching of a female figure with short black hair and bangs. She is holding a cigarette, with her elbow propped on a table. Her other hand is resting on the table, with a teacup and plate in front of her arm and a napkin with utensils next to her curled up fingers., Becare What You Wish For 1997; M. Walker; etching 7 x 73/4 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/

47. Strawberry Field #5

Strawberry Field #5

Description: This aerial, color photograph presents an abstraction of the landscape that opens the door to endless possibilities for interpretation., Strawberry field #5; [no.] 6;1993, Mark Abrahamson was born in Seattle, Washington in 1944. He received a BA degree in chemistry from Whitman College, Walla Walla, WA. in 1966 and a DDS degree from the University of Washington in 1970. In 1987 he received a grant from the Seattle Arts Commission, in 1991 and 1995 he was awarded GAP Grants from Artists Trusts, and also in 1995 a Washington State China Relations Council Travel Grant. (Unknown, 1995), http://www7.nationalacademies.org/arts/Mark_Abrahamson.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/

48. 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/

49. Matinee Idol (detail)

Matinee Idol (detail)

Description: An abstracted bronze sculpture with the base being a large 'x' with five red squares surrounding the right leg of the 'x'. Above that are more bronze shapes and plates with a yellow and purple object in the middle. It is as if this bronze sculpture is holding this yellow and purple object, maybe as a shield., Untitled; [no.] 4; 3/4 front, Tom Morandi received his B.S. in Art Education from Indiana University of Pennsylvania in 1966 and his M.F.A. in Sculpture from Ohio University in 1971.He has been a Professor of Art at Oregon State University since 1989., tmorandi@comcast.net; tmorandi@oregonstate.edu, http://www.tommorandi.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. Sulawesi I

Description: A steel sculpture hanging on a dark blue wall. The sculpture loops around itself, making it look sort of like a vine. The sculpture is covered in silver leaf., Sulawesi I; 1997; Silver leaf over steel; (70 x 36 x 7 inches), http://www.pnca.edu/exposure/stories/19/lee-kelly-59, http://www.elizabethleach.com/Artist-Detail.cfm?ArtistsID=129, 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/

51. 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/

52. Unclassified Reflections "F"

Unclassified Reflections "F"

Description: This black and gray print on neutral paper presents a repetative, geometric pattern superimposed with large, curvy lines., Unclassified Reflections F, 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/

53. 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/

54. Trout Needs Trees

Trout Needs Trees

Description: This print divides the main picture plane from the surrounding decorative border of images geometrically. The main picture plane, a vertical rectangle, occupies the center of the piece, and it depicts a man standing at the edge of the water with a fishing pole. Beneath the surface of the water, several fish swim amongst a downed tree.Two horizontal rectangles flank the upper and lower sections of the piece, and the main picture plane is flanked by a series of squares and rectangles. The shapes that create the border around the main picture plane contain a conglomeration of fishing equipment, geometric shapes, and landscape elements., Trout Need Trees; linocut print; (46 x 22 inches(image)); edition of 20; 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/

55. 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/

56. 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/

57. Cardinal Lobelia

Cardinal Lobelia

Description: A dark platinum printed photograph of a cardinal lobelia plant against a black background., Cardinal Lobelia; platinum print; (4.5 x 3.5 inches); '93, http://www.seubertfineart.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/

58. Range

Description: A black and white photograph of an inside of a cave with crystals growing upwards from the ground., Range; 1996; [no.] 5, 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/

59. 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/

60. Pediophobia

Description: A platinum printed photograph of a dark-haired doll with two braids against a black background. The doll is shirtless but is wering some sort of bottom material. One of the dolls arms extends out farther than the other., Pediophobia; 1996; platinum print; (13 x 10 inches); Inv. #58, http://www.seubertfineart.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/

61. 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/

62. 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/

63. 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/

64. 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/

65. Pothole Erosion

Pothole Erosion

Description: A silver printed photograph of what looks to be inside a cave with rocks and water, looking out. The sides of the photograph look to be rocks eroded by perhaps water. The rock extends all the way up the right of the photograph and curves around the top. There looks to be a human figure standing on the ground rocks., Pothole Erosion, ID; 1995; gelatin silver print; Elizabeth Leach Gallery, 207 SW Pine St., Portland, Oregon 97204; (503) 224-0521, http://www.historycooperative.org/journals/ohq/105.3/toedtemeier.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/

66. Fence 36-323 (detail #2)

Fence 36-323 (detail #2)

Description: This view represents a detailed section of the mixed media construction, Fence 36-323, that organizes discarded materials within a black grid pattern., detail #2 Fence; Francine Seders Gallery, Seattle, (206) 782-0355; 36-323, det. 2; fabric & mixed media; 1995, http://www.sedersgallery.com/Artists/036/36-000.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/

67. Hagiophobia

Description: A platinum printed photograph of the Holy Bible against a black background, with the spine of the book facing the viewer., Hagiophobia; 1996; platinum print; (13 x 10 inches); Inv. #50, http://www.seubertfineart.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/

68. 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/

69. 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/

70. 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/

71. The Resurection of the Liebfrauenkircke

The Resurection of the Liebfrauenkircke

Description: The ground battle, WWII 1945, Numberg, loosened all the building stones of the church. Thus the church was unsafe for use. All the building stones were taken down, numbered and put back by the numbers with fresh mortar. This visual document of the restoration process, made from drawings and photographs by the artist while on active duty in Germany, were used to create the imagery of the aquatint., The Reserection of the Liebfraukircke Nornberg; Aquatint, 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/

72. 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/

73. Station to Station

Station to Station

Description: This sculptural wall piece consists of various objects stacked and connected together. The color palette for the piece adheres mostly to the primaries: red, yellow, and blue., Station to Station; '96; mixed media construction; H = 72 inches, D = 16 inches, W = 24 inches, 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/

74. Source

Description: A black and white photograph of what looks like some sort of sink hole. The patterns surrounding the hole are very abstract, along with the shape of the black, dark hole., Source; 1995; [no.] 9, 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/

75. Constant Movement

Constant Movement

Description: A detail view. Diamond Craters is among those places that call to me because the land forms openly reveal their origins - their history is clearly written upon the surfaces before me. 'Constant Movement' is a phrase drawn from old geology text and in this place is meant to speak not only about the geomorphology of the region, but also about the human experience of the moment in this place as the wind whips the mullein plants into motion. (Warpinski), Constant Movement…(detail); mixed media collage; (36 x 22 inches); 1997; [no.] 10, 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., http://www.uoregon.edu/~tlw/; 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: Linn-Benton Arts. You may view their website at: http://www.artcentric.org/

76. Constant Movement

Constant Movement

Description: Diamond Craters is among those places that call to me because the land forms openly reveal their origins - their history is clearly written upon the surfaces before me. 'Constant Movement' is a phrase drawn from old geology text and in this place is meant to speak not only about the geomorphology of the region, but also about the human experience of the moment in this place as the wind whips the mullein plants into motion. (Warpinski), Constant Movement…; mixed media collage; (36 x 22 inches); 1997; [no.] 9, 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., http://www.uoregon.edu/~tlw/; 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: Linn-Benton Arts. You may view their website at: http://www.artcentric.org/

77. Lupine

Description: A dark platinum printed photograph of a lupine plant against a black background., Lupine; platinum print; (4.5 x 3.5 inches); '93, http://www.seubertfineart.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/

78. Waldo Lake Sunset

Waldo Lake Sunset

Description: A colored photograph of silhouetted trees, islands of trees, and mountains during a sunset. The sky and clouds are pink, purple, and orange, which is also present in the lake below it by the reflection., Waldo Lake Sunset; 1996 (yr), 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/

79. 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/

80. Kincaids Lupine

Kincaids Lupine

Description: Lupinus sulphureus kincaidii. Our native lupines are a confusing lot, with nearly 600 distinct kinds described in the US. Within a given population bewildering variations occur, and rather free interbreeding compounds the confusion. One iridescent blue butterfly is not confused however. Known to prefer Kincaid's lupine as a larval food plant, the Fender's Blue butterfly, Icaricia icariodes fenderi, was last seen in 1931 and presumed extinct. But careful scrutiny of populations of Kincaid's lupine led to recent rediscovery of the rare insect. Now efforts are underway to protect both the butterfly and its host lupine. This variation of the sulphur lupines is confined to remnant bits of native prairie grasslands in western Oregon and Washington, primarily in the Willamette Valley. Lupines are broadly recognized by radiating leaflets and blossoms that resemble those of other members of the pea family. Kincaid's lupine may be distinguished by three characteristics: relatively low-growing basal leaves dominated by upbranched stems bearing uncrowded whorls of smallish flowers, blossoms a varied assortment of colors from yellow to blue to purple, and banner petals with a distinctly ruffled border. The name of Trevor Kincaid, as this lupine, has been ascribed to much of the flora and fauna of the Pacific Northwest. My first encounter was in the subject of my Master's thesis, a tiny aquatic fly that bears his name as original taxonomist (Maruina lanceolata Kincaid). Born in 1872, Kincaid grew up an avid student of nature, making prodigious collections of plant and animal specimens even before entering the fledgling University of Washington in 1894. Within seven years he was head of the Department of Zoology there and continued as inspired teacher, entomologist, and international science adviser until his death at 97, having shaped the early development of zoology at the university. (description provided by Oregon Arts Commission), Kincaid's Lupine; [no.] 8; 1994, 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/

81. Valley Ariel

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: http://osulibrary.orst.edu/libraries_and_collection The print presents a landscape scene of fertile farmland under a blue sky., Cie Goulet is well known for her energetic paintings of the Oregon landscape. Her dramatic color and light is further enhanced by the use of black as a base color (monotypes on black paper). Cie Goulet attended San Francisco Art Institute, Parsons School of Design and graduated from the University of Oregon in 1965, where she studied under the late Jack Wilkinson. In the last twenty years the artist has exhibited in various areas of the U.S. including: Tamasulo Gallery, Cranford, NJ; Louis Meisel Gallery, NY; Artists Space, NY as well as one person exhibitions at Lynn McAllister Gallery, Seattle, WA; Salishan Lodge, Gen Eden, OR; River Run Gallery, Ketchum, ID and the Laura Russo Gallery, Portland, OR. Cie Goulet exhibited her work in the exhibition "First Impressions: Northwest Monotypes" at the Seattle Art Museum, WA which then traveled to the Marylhurst College, Art Gym Gallery. (Unknown, 1991), http://www.laurarusso.com/artists/goulet.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/

82. Strategies

Description: Photographs abstract time and manipulate space. The monocular view through the camera lens collapses deep space onto a 2 dimensional picture plane. Often this collapse renders a powerful physical experience of place quite impotent when translated to the photographic surface. Maps are also an abstraction of space, as well as a code or language that describes the place to those that know the language. These two abstracted views are combined to give multiple readings of the same place - an edge overlooking Big Indian Gorge seen through a curtain of Mountain mahogany. (Warpinski), Strategies. (At the edge…); mixed media collage; (30 x 22 inches); 1994; [no.] 7, 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., http://www.uoregon.edu/~tlw/; 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: Linn-Benton Arts. You may view their website at: http://www.artcentric.org/

83. 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/

84. 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/

85. Wild Future/Wet Hands

Wild Future/Wet Hands

Description: This print divides the main picture plane from the surrounding decorative border of images geometrically. The main picture plane, a vertical rectangle, occupies the center of the piece, and it depicts a man standing in water with a fishing pole. Beneath the surface of the water, a thick hand grabs a fish by the tail.Two horizontal rectangles flank the upper and lower sections of the piece, and the main picture plane is flanked by a series of squares and rectangles. The shapes that create the border around the main picture plane contain a conglomeration of fishing equipment, geometric shapes, and landscape elements., Wild Future/Wet Hands; linocut print; (46 x 22 inches(image)); edition of 20; 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/

86. 1996-#16

Description: An oil crayon drawing of a tree with numerous branches bunched together near the roots. There are two more trees in the background such as the one in the foreground. The green ground contains dark shadows from the tree trunks and branches., # 16; 1996; oil crayon on paper; (9 x 12 inches); Inv. #07, http://pnca.edu/programs/bfa/faculty.php, http://www.froelickgallery.com/Artist-Detail.cfm?ArtistsID=248, 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/

87. Chronophobia

Description: A platinum printed photograph of a white rectangular clock against a black background. The clock has three letters on each of the four sides. The hour hand is pointing in between the 2 and 3; the minute hand between the 5 and six; and the second hand on the 6., Chronophobia; platinum print; (13 x 10 inches); 1996; Inv. #49, http://www.seubertfineart.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/

88. Braced Spine

Description: A tall sculpture with two layers of black steel platform holding up two steel rods that twist as they go upwards. In the middle is a blue glass rod with a glass shape with flat planes at the very top., Braced Spine; 1992; (90 x 20 x 14 inches), Nancy Mee was born in Oakland, California, eventually moving to Seattle where she received a B.F.A. from the University of Washington. In 1984 she was a resident at Pilchuck School and in 1988 won the Betty Bowen Memorial Award. Mee's unique sculpture is fabricated out of fused and slumped glass and incorporates forged and cut metals. Exhibitions include the Seattle Art Museum, Bellevue Art Museum, Brooklyn Museum, San Jose Museum of Art, and the Centre International d'Art Contemporain in Chateau Beychevelle, France. Collections include Safeco, Microsoft, the Seattle Art Museum, the Tacoma Art Museum, and the Musee des Arts Decoratives in Lausanne, Switzerland., http://dennisevans.net/index2.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/

89. Bronze Crow #4

Description: This roughly formed and unpolished bronze piece depicts a bird standing atop a stump with its long neck bent back toward its body., Bronze Crow #4; [no.] 4; (19 x 9 x 18), Frank Boyden was born 1942, in Portland, OR. He attended Yale University, School of Art, achieving a M.F.A. and B.F.A., in Painting, 1968. In 1965, he attended Colorado College, where he received a B.A. in Art., http://www.laurarusso.com/artists/boyden.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/

90. Dog's Feast

Description: In this charcoal drawing, five ravenous dogs surround a cart filled with human skeletons. One of the dogs tugs at a bone through an opening in the side of the cart, while another one lies down to enjoy a femur., Dog's Feast; Charcoal; (44 x 66 inches); 1993, Clint Brown has been a professor of art at Oregon State University, where he has taught drawing, painting, and sculpture since 1970. He served as a Fulbright Exchange Professor at Trent Polytechnic (now Nottingham Trent University) in Nottingham, England, and has taught art as Seattle Pacific University and University of Southern California. He is author of Drawing from Life (Harcourt Brace, second edition 1996) and editor of Artist to Artist: Inspiration and Advice from Artists Past and Present (Jackson Creek Press 1998). His art work had been exhibited widely throughout the West. His drawings on the AIDS pandemic, The Plague Drawings, traveled to Japan,, http://www.clintbrownartist.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/

91. Bronze Crow #2

Description: This roughly formed and unpolished bronze piece depicts a bird atop a stump, frozen in what appears to be the moment before flight. The bird's wings extend upward and outward from its body, and its neck stretches out in front of it., Bronze Crow #2; [no.] 2; (20 x 8 x 20), Frank Boyden was born 1942, in Portland, OR. He attended Yale University, School of Art, achieving a M.F.A. and B.F.A., in Painting, 1968. In 1965, he attended Colorado College, where he received a B.A. in Art., http://www.laurarusso.com/artists/boyden.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/

92. 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/

93. 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/

94. Linonophobia

Description: A dark platinum printed photograph of a ball of yarn against a black background. The end of the yarn extends out and loops a bit on the left side., Linonophobia; 1996; platinum print; (13 x 10 inches); Inv. #60, http://www.seubertfineart.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/

95. 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/

96. 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/

97. 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/

98. 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/

99. Homunculus

Description: A mixed media art piece featuring three glass containers, one holding half of a moon, the middle one holding a man above a curled up snake, and the other one holding a sun. There are handwriten words in black ink at the top of the piece., Homunculus; 1997; mixed media on paper; (15 x 15 inches), 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: Linn-Benton Arts. You may view their website at: http://www.artcentric.org/

100. Stake

Description: A metal and wood construction of simple geometry that comprises a metal suspension mechanism for an inverted wooden spike. Linear metal outlines two squares: one at the base and one at the top. The base square is slightly larger than the top square, and they are connected to each other at each corner, thus defining a considerable amount of vertical space. The top sqaure's sides are intersected in the middle by linear metal hanging down and forming another square, defined by two, parallel metal pieces. The base of the wooden spike, which is shaped like a pyramid, fits into the metal piece and hangs down toward the base., Stake; [no.] 2; 1993;top, As an artist, Gary has had the opportunity to work in many areas of sculpture from casting glass at The Pilchuck Glass School and Pratt Fine Art Center both in Seattle to a summer spent at The Skowhegan School of Painting and Sculpture in Maine. Through the classes at Pilchuck, Gary has learned from some of the best glass casters in the world. The summer sent in Maine allowed Gary to spend time with 65 other talented artists in a working environment. Gary has also been an Artist in Residence at Pratt Fine Art Center in Seattle (1992), which allowed him to develop a series of cast glass pieces. In 1998 Gary received a GAP grant from Artist Trust in Seattle which allowed him to work on a set of molds for glass casting. Gary has also worked with a large design gallery in Chicago, selling pieces to architects and interior designers. (Unknown, 1995), gary@studioandolina.com, http://www.studioandolina.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/