The Linfield Gallery is one of 25 venues hosting the PORTLAND2016 BIENNIAL

grabner at studio visist

July 9th- Sept 18th 2016

Venues such as the historic Astor Hotel in Astoria, Umpqua Community College in Roseburg, and Crow's Shadow Institute of the Arts on the Umatilla Indian Reservation are included among twenty-five exhibition spaces across the state that form Disjecta Contemporary Art Center's groundbreaking Portland2016 Biennial. Internationally renowned artist-curator Michelle Grabner selected thirty-four artists and artist-teams who will exhibit at wide-ranging venues from Ashland and Clatskanie to Madras and La Grande between July 9 and September 18. Mirroring the geographic span of the artists--thirteen are from outside Portland--Disjecta's Biennial will engage sites across Oregon, making the project accessible to larger and more diverse audiences, while also encouraging visitors to travel between and explore host communities.

Artists Donald Morgan of Eugene (http://portlandbiennial.org/artists/donald-morgan/) and Rebecca Peel of Portland (http://portlandbiennial.org/artists/rebecca-peel/) will exhibit in the Linfield Gallery in the James F. Miller Fine Arts Center on the Linfield College campus.

Summer gallery hours are by appointment. Please email jzarkovi@linfield.edu to schedule an appointment.


An artists' recept
ion will be held Saturday, September 10 from 5:00 to 7:00 p.m. in the Linfield Gallery.

The exhibit is free and open to the public. The gallery is located in the James F. Miller Fine Arts Center on the Linfield College campus. To reach the gallery from 99W, turn east on Keck Drive at the McMinnville Market Center in south McMinnville. Turn right at the first street onto Library Court. The art gallery is located in the second building on the left, Building B. Parking is available on the street and in the lot west of Nicholson Library. For a campus map, visit http://www.linfield.edu/campus-map.html. Miller Fine Arts Center is number 56. For more information visit Linfield Gallery at http://www.linfield.edu/art/gallery-now.html

At the heart of Grabner's vision is her investigation into regionalism, particularly how artists working in specific locations often reflect their geography and culture; and more broadly, how these local dynamics impact the global art world in a time of decentralization. During Grabner's research, which included visits to 107 artists' studios, she and Disjecta looked at potential exhibition sites, ranging from university galleries to museums, vacant storefronts, early 20th-century vaudeville theaters, garages, and libraries. "New and alternative exhibition contexts always present a challenge for artists. It is important to me that the artists I selected to represent the Portland2016 Biennial are offered an opportunity to grow and expand their creative process, to engage new audiences and exhibition sites," Grabner says.

Grabner's choice of artists--a mix of mid-career to emerging, working in a variety of media that encompass installation, film/video, sound, painting, craft, and social-based practice--is supported by her carefully-considered venue pairings. "We've always imagined the Biennial as a statewide even--a way to encourage cultural exchange," says Disjecta Director Bryan Suereth. "Michelle's interest in geographic proclivities made this an opportune year to expand the footprint of the exhibition. It serves a dual purpose; while celebrating the great art being made throughout the state, it also elevates the unique landscapes and communities of Oregon."

 

For more information on the PORTLAND2016 BIENNIAL OF CONTEMPORARY ART visit: http://portlandbiennial.org/

Images of work by Donald Morgan:

 install shot of cowboy bones

Instalations shot at Linfield Gallery;

Center
Belly Up
2016Enamel, Medium Density Fiberboard, Cast Stainless Steel, High Density Foam
34 x 75 x 25”

left
Mixed Curse
2016
Enamel on Acrylic Laminate
43 x 38”

right
Exclamations
2016
Enamel on Acrylic Laminate
43 x 38”



cowboy boot

install shot of bones and text

Center
Belly Up
2016Enamel, Medium Density Fiberboard, Cast Stainless Steel, High Density Foam
34 x 75 x 25”

left
Exclamations
2016
Enamel on Acrylic Laminate
43 x 38”

right
Walking Curse
2016
Enamel on Acrylic Laminate
43 x 38”



text painting of cowboy talk

Dragging Curse
2016
Enamel on Acrylic Laminate
43 x 38”


The following venues and artists form the Portland2016 Biennial (artist allocations are subject to change):

PORTLAND
ASHLAND
ASTORIA
BEND
 
CLATSKANIE
LA GRANDE

MADRAS

 
MCMINNVILLE
PENDLETON
ROSEBURG
 
SALEM
THE DALLES 
CONFEDERATED TRIBES OF THE UMATILLA INDIAN RESERVATION

ABOUT MICHELLE GRABNER

Incorporating writing, curating and teaching with a studio practice grounded in process and productivity, Grabner has created a multi-faceted and dynamic career. She is founder and co-director, along with her husband Brad Killiam, of three artist spaces that embody new models for facilitating and presenting artists’ projects: The Suburban, in both Riverwest and Walker’s Point, WI; and The Poor Farm, a year-long exhibition space at the former Waupaca County Poor Farm in Little Wolf, WI. Her criticism and essays are published in Artforum, Modern Painters, Frieze, Art Press, and Art-Agenda, among others. In 2014 Grabner was one of three curators for the prestigious Whitney Biennial. As an artist, Grabner works in variety of mediums including drawing, painting, video and sculpture. Over four dozen solo exhibitions of her work have been organized by galleries and institutions including the Indianapolis Museum of Art; Museum of Contemporary Art, Cleveland; INOVA, The University of Wisconsin, Milwaukee; Ulrich Museum, Wichita, KS; and University Galleries, Illinois State University. Her work is in the collection of the Museum of Contemporary Art, Chicago; the Walker Art Center, Minneapolis; Milwaukee Art Museum; DaimlerChrysler Collection, Berlin; Musee d'Art Moderne Grand-Duc Jean, Luxembourg; Mudam Museum, Luxembourg; Smithsonian American Art Museum, Washington DC; Museum of Fine Arts, Boston; and the Victoria and Albert Museum, London.

Grabner joined the faculty of the School of the Art Institute of Chicago in 1996, becoming Chair of its Painting and Drawing department in 2009. She has taught at Yale University, Bard College, The Skowhegan School of Painting and Sculpture, the University of Wisconsin, the Cranbrook Academy of Art, and the University of Pennsylvania. Grabner holds an MA in Art History and a BFA in Painting and Drawing from the University of Wisconsin–Milwaukee, and an MFA in Art Theory and Practice from Northwestern University.

As David Norr writes in the introduction to her solo exhibition at MoCA, Cleveland, “All of Grabner’s activities are driven by distinctive values and ideas: working outside of dominant systems, working tirelessly, working across platforms and towards community.”

 

ABOUT THE PORTLAND BIENNIAL

Portland2016 continues the tradition of the Oregon Biennial, begun by the Portland Art Museum in 1949. With the end of the Museum’s Biennial in 2006, Oregon artists lost a longstanding platform for career advancement. In 2010, Disjecta introduced a refreshed Biennial, curated by then-Linfield College Gallery Director Cris Moss. The exhibition spanned nine venues throughout Portland and included 19 Oregon artists. Portland2012 presented the work of 24 artists at five venues and was curated by Prudence F. Roberts, former curator of American Art at the Portland Art Museum. Portland2014 was curated by Amanda Hunt, Associate Curator at the Studio Museum in Harlem, and included 15 artists.

 

ABOUT DISJECTA

Disjecta Contemporary Art Center builds ambitious programs that promote artists and engage communities. These programs present forward-thinking work from visual and performing artists, provide crucial resources so that artists can realize their best work, and fuel collaborations between artists, curators, and viewers. Disjecta exacts equal rigor from local and national artists, while keenly recognizing and supporting the talent of the region