Angel O’Brien - 05-30-19

Angel O’Brien, The Distance of Forgetting

Friday, May 2nd - Thursday, May 30th
Artist’s Reception-May 4th 6-9pm (calendar)

45th Parallel Wines
8527 North Lombard Street
Portland, Oregon 97203
(971) 266-0886
Tuesday-Thursday noon-8pm
Friday-Saturday noon-9pm
Sunday noon-6pm

The Distance of Forgetting is a series of unique self-portrait montages that are made using the alt-process photographic printing techniques of platinum, gum bichromate, cyanotype and photo transfer. With these photographs, Angel plays with the idea that through the melding together of multiple, often disparate, images, something magical and other can be created.
instagram- @5x7angel

Rich Bergeman 06-15-19

Rich Bergeman, The Land Remembers

May 10 - June 15, 2019
Opening reception Friday, May 10, from 5-6:30pm
Gallery Talk, Saturday, June 1, at 2pm (calendar)

Moreland Gallery
Benton County Museum
1101 Main St.
Philomath, OR 97370
Open Tues-Sat 10am-4:30pm

“The Land Remembers: Photographs Inspired by the Rogue River Wars” features 37 black-and-white infrared photographs by Corvallis photographer Rich Bergeman.

Over the last three years Bergeman has explored hundreds of miles of back roads in the Rogue River Country, from Mt. McLoughlin to Gold Beach--as well as a few more miles on the river--in search of places where one of the bloodiest and longest-running wars in the state's history raged in the early 1850s. Largely forgotten today, the Rogue River Wars festered and flared up multiple times between 1851 and 1854 before erupting into all out war involving the U.S. Army in 1855-56. It ended with the forced removal of the Rogue Valley and the South Coast tribes to reservations at Siletz and Grand Ronde in what natives remember as Oregon's own “Trail of Tears.”

Bergeman described his project as an effort to "make art out of history." Rather than simply document exact sites from the war years, he sought to bring the historic conflict back to life through a “reflective look at the beautiful and sublime landscape that played host to such tragic events over 160 years ago.”

Blue Sky Gallery 06-02-19

2019 Curatorial Prize: An Inward Gaze
Curated by Jon Feinstein and Roula Seikaly
photographs by Arielle Bobb-Willis and Brittney Cathey-Adams

May 2–June 2, 2019
First Thursday opening reception: May 2, 6:00–9:00 PM
Artist-led tour of An Inward Gaze: Saturday, May 4, 3:00 PM (calendar)

Blue Sky Gallery
122 NW 8th Avenue
Portland, Oregon 97209 USA
Tuesday - Sunday, 12 - 5 pm
First Thursday 6 - 9 pm
All Blue Sky events and programs are free and open to the public.

Arielle Bobb-Willis, San Francisco, 2017
Blue Sky is pleased to present its second annual curatorial prize exhibition, An Inward Gaze. Curators Jon Feinstein and Roula Seikaly have brought together the work of Arielle Bobb-Willis and Brittney Cathey-Adams, two women who make sculptural, performative images that counter the male gaze and its prevalence in art history. In doing so, they illustrate how this power dynamic bolsters pervasive gender, race, and body size stereotypes in contemporary art and pop culture. Bobb-Willis’ vivid staged photographs use the human form as source material and as stand-ins for self-portraits representing her own complex emotional struggles. Cathey-Adams creates black-and-white self-portraits in various natural settings that declare personal agency in representation, and defy historical stigmas attached to women who do not fit an idealized physical mold.

Feinstein and Seikaly describe the work in An Inward Gaze as “an abstraction of control and self representation. Rather than offering a salve for the many complex problems tied to the male gaze, we’ve paired the work of Arielle Bobb-Willis and Brittney Cathey-Adams in an attempt to reframe looking: how two artists use photography to process their own inner struggles, how they use images of the physical form as metaphors for these monologues, and ultimately, how their methods are a means of taking ownership over their bodies and inward spaces.”

Brittney Cathey-Adams, Breath
About the Curators:
Jon Feinstein is a Seattle and New York City-based photographer, curator, writer, and co-founder of Humble Arts Foundation. Jon has curated numerous exhibitions over the last decade in venues including Glassbox Gallery in Seattle, The Filter Photo Festival in Chicago, Photographic Center Northwest in Seattle, Hasted Kraeutler in NYC, Affirmation Arts in NYC, Barclays Arena in Brooklyn, New York, and Milk Studios in NYC. His curatorial projects have been featured in Aperture, The New York Times, The New Republic, BBC, VICE, The New Yorker, Hyperallergic, Feature Shoot, and American Photo, and his writing has appeared in VICE, TIME, Slate, GOOD, Daylight, Photograph, and PDN.

Roula Seikaly is a writer and independent curator based in Berkeley, and Humble Arts Foundation’s Senior Editor. Her writing is featured on platforms including Aperture, Photograph, Saint Lucy, Strange Fire Collective, Camerawork, Hyperallergic, and KQED Arts. She has curated exhibitions at the Utah Museum of Fine Arts, the Wattis Institute for Contemporary Arts, SOMArts, and SF Camerawork.

About the Artists:
Born and raised in New York City, with pit stops in South Carolina and New Orleans, photographer Arielle Bobb-Willis has been using the camera for nearly a decade as a tool of empowerment. Battling with depression from an early age, Bobb-Willis found solace behind the lens and has developed a visual language that speaks to the complexities of life: the beautiful, the strange, belonging, isolation, and connection. Her photographs are all captured in urban and rural cities, from the South to North, East to West. Bobb-Willis travels throughout the US as a way of finding "home" in any grassy knoll, or city sidewalk, reminding us to stay connected and grounded during life’s transitional moments. She is currently based in New York City.

Brittney Cathey-Adams is a photographic artist currently located in Portland, Oregon. Her work includes themes of body politics, fat positivity, and interrogating ideas of representation through self-portraiture. Her work has been exhibited at institutions such as the de Young Museum, The Center for Fine Art Photography in Fort Collins, Colorado, and Rayko Photo Center in San Francisco. Most recently, she was a 2017 Artist In Residence with Center for Photography at Woodstock, New York. Previously, she taught photography and created program curricula in the Bay Area for seven years. She is currently teaching photography with Portland Community College. With a strong passion for photography and art education, Cathey-Adams dedicates herself to image making as well as sharing visual language through teaching in and out of the classroom.

Blue Sky Gallery 06-02-19

Vladimir Antaki, The Guardians

May 2–June 2, 2019
First Thursday opening reception: May 2, 6:00–9:00 PM
Artist talk: Thursday, May 2, 5:00 PM (calendar)

Blue Sky Gallery
122 NW 8th Avenue
Portland, Oregon 97209 USA
Tuesday - Sunday, 12 - 5 pm
First Thursday 6 - 9 pm
All Blue Sky events and programs are free and open to the public.

Mehmet Öztekin, Istanbul, 2018
For his series The Guardians, Vladimir Antaki traveled across Europe, the Middle East, and America, photographing and interviewing shopkeepers or “Guardians.” These Guardians are keepers of what Antaki terms “urban temples,” or unique spaces which, in an age of cookie-cutter, corporate shops, hearken back to an earlier mode of urban life. Antaki creates portraits of the Guardians that invite the viewer connect to the beauty of these often forgotten spaces. Antaki believes that these temples are the heart and soul of every city; they are what give the urban center its uniqueness in time and place. As so many of them are closing, Antaki seeks to preserve their memory and pay them tribute.

Vladimir Antaki was born in Riyadh, Saudi Arabia in 1980. He grew up in Paris and studied art history and film studies at La Sorbonne. In 2003, Antaki moved to Montreal, where he graduated with a Bachelor of Fine Arts in visual and media arts from L'Université du Québec à Montréal in 2007. The Guardians has been exhibited in public spaces and galleries in more than a hundred cities across France and North America, as well as throughout Lebanon. The series won an Infopresse Lux prize in 2013, and was selected to represent Canada in The Other Hundred, a photo-book curated by the Global Institute For Tomorrow. Most recently, Antaki has published a monograph of The Guardians through Kehrer Verlag.

Pearl Gallery and Framing - 06-02-19


May 2 to June 2, 2019
Reception: May 2 from 5pm to 9pm (calendar)

Pearl Gallery and Framing
2250 NW 22nd Ave Suite 404 Portland, OR 97210
Normal hours:
9 a.m. to 5 p.m. Weekdays
11 a.m. to 5 p.m. Saturdays
and every First Thursday until 9 p.m.

For the month of May, Pearl Gallery & Framing will be showcasing a selection of photographs of graffiti by Lew Nunnelley. This selection of photographs, were made from graffiti images on railroad cars in the Willamette Valley.

“Painting on railroad cars is considered vandalism by some, therefore painting or "tagging" should be done only with prior approval, - Lew Nunnelley

Lew has been making photographs for many years. Like most photographers in the 35mm film era Lew has several shoeboxes of slides that take up space in his closet. About 20 years ago he decided to try to get better at making photographs so he began taking workshops with Galen Rowell, John Sexton, Henry Gilpin and others. Based on those workshops and his interests at that time he pursued traditional landscape photography. Lew still makes photographs with his trusty 4x5 view camera, however as time went on he began to develop an interest in observing and documenting the interaction of people with the environment – how people perceive and manipulate the environment/landscape. This more human oriented view of our environment led to his interest in photographing graffiti.

“Doing graffiti is different than most art. There is no career path. It’s usually anonymous. And the graffiti on railroad cars doesn’t usually stay put – it’s mobile, ephemeral and there is little hope of getting kudos from the professional taste makers.”

The question Lew poses is “why would someone paint graffiti – especially on railroad cars when the railroad companies are usually not enthusiastic about the activity?” His conclusion is that there are several possible motivations of graffiti artists but one, he believes, is that it is the creation of a work of art which livens up the train yard and hopefully is seen by many people, if only briefly. He feels it is a very unselfish and lighthearted way of altering the environment. In passing them, Lew notes that in his opinion, some of the “pieces” (as works of graffiti are called) exhibit a high degree of artistic talent.

“I am not a professional photographer. I am a retired engineer. I do, however, wish to thank all the graffiti artists who have made my journey through life and place a little more colorful.” - Lew Nunnelley.

West Linn Public Library 05-31-19

Eric Brody

May 1-May 31, 2019
Reception on Sunday, May 5 from 12:30PM-2:30PM (calendar)

West Linn Public Library
(in the Community Room)
1595 Burns Street
West Linn, OR 97068
Monday - Wednesday 10:00AM-8:00PM
Thursday-Friday 10:00AM-6:00PM
Saturday-Sunday 12:00-5:00PM
Please call 503-656-7853 if you’d like to visit during the day as the room is sometimes booked for meetings.

Aotearoa-Land of the Long White Cloud

I am privileged to have an solo exhibit of my photography at the West Linn Public Library, in the Community Room, from May 1 through May 31, 2019.

A photographer can preserve a moment in time by combining artistic vision and technical tools. Each of my images has a special meaning for me. For each, I can recall the light and the unique photographic aspects of the scene. I am fortunate both to live in Oregon and to have the ability to travel to photograph. Oregon and the west are magical places where one can capture the extraordinary beauty in simple natural things.

For many years, I used black and white film and printed in the traditional darkroom. I now photograph digitally with a high-resolution camera, and do post processing in Adobe Lightroom and Photoshop.

All photographs are manipulated. A two dimensional piece of paper is not reality; black and white is not reality; the colors in photographs are not real either. Just choosing where to place the corners in a composition requires a conscious decision. I have modified the color in some images as I have modified the tonal relationships in black and white, both traditionally and digitally to produce images that please me.

Camerawork Gallery 05-31-19

Pelle Cass, Crowded Fields

May 4 – May 31, 2019 (calendar)

Camerawork Gallery
301 N. Graham Street, Portland, OR 97227
Located in Lorenzen Conference Center - Legacy Emanuel Medical Center Campus.
9am - 6pm, Monday-Saturday, Sunday, 10am-4pm
Free off street parking available, Stair and elevator access, TriMet Routes 4, 24 and 44
Event is free and open to the public

Brookline, MA photographer Pelle Cass notes, “The reshuffled time of this series of composite photographs called Crowded Fields, play prevails over competition, the stands are empty, and the fields are full, whole games are shown out of sequence. I rearrange the archetypes of sports into new patterns.

“To make the compositions, I put my camera on a tripod, take up to a thousand pictures, and compile selected figures into a final photograph that is kind of a still time-lapse. I change nothing—not a pixel—only select what to keep and what to omit. It all happened just as you see it, just not at the same time.

“My subjects are the lightly attended fields, arenas, and stadiums of college and amateur teams (especially women’s teams) around Boston where I live. I try, in the series, to convey a sense of ecstatic chaos--rhythm, pattern, and bodily pleasure that conspire to turn sports back into a game, one that may be invisible to the eye, but clear to my camera.”

Basic information on my process
• I put my camera on a tripod and take up to a thousand or more photos over an hour or two from the exact same spot. A thousand photos is typical.
• I compose the files in Photoshop. A typical finished photo might include two- to fourhundred layers.
• It takes me about 40 hours to assemble a photo in Photoshop. The whole process— from shooting to polishing the final file—might take about two weeks if I’m working on it full time.

Pelle Cass is a photographer from Brookline, Massachusetts. His work is in the collections of the Fogg Art Museum, the Addison Gallery of American Art, the Polaroid Collection, the DeCordova Museum, the Peabody Essex Museum, the MFA, Houston, and others. Cass’s work has been published widely online, in books such as Photoviz, Deleueze and the City, and Langford’s Basic Photography and magazines such as Consumer Reports, Businessweek, McSweeney’s, and the Boston Art Review., and he’s received fellowships from Yaddo and the Polaroid Collection.

Jim Lommasson - 09-02-19

Jim Lommasson, What We Carried: Fragments and Memories from Iraq and SyriaBook Fundraiser.

EDITOR NOTE: I want to try to help Portland photographers with NEW book related notices as well. This is an experiment as I do not know how this will play out. The book should be by a Portland (or near to Portland) based photographer and represent a cohesive body of work. Basically I don't want to push anyone's Flickr or Instagram streams in book form. Email me if you have any questions.

I’m working on a What We Carried book now and raising funds to support the cost of the book to be ready for the show.

What We Carried will be on view at the Ellis Island Nation Immigration Museum in NYC (May 25 - September 2, 2019). I’m thrilled that these powerful refugee stories will seen by so many visitors this summer at Ellis Island. A million people will see the show!

Please see my GofundMe video:

Adam Bacher 05-31-19

Adam Bacher, Riding the Storm Out – A Blizzard of Ravens

OPEN/CLOSE: April 4th - May 31, 2019
Opening Reception: Friday April 5th, 6-8 pm
Artist Talk: Friday April 26th, 7:30- 9pm (calendar)

Pushdot Studio
2505 SE 11th Avenue
Suite 104 (in the Ford Building, enter on Division Street)
Portland, OR 97202
Gallery Hours: Mon-Fri. 8:30am to 5:00pm, free admission

This February, Ravens flew high in the chaos of a blizzard. An inkblot Rorschach riding the sky in punishing winds. And a photographer ventured freely into the furious storm to record their actions. The snow collected in feet not inches, on the slopes of Mount Hood. Trees turned a cold hue of winter storm white. Winds blew steady at 35, gusting to 60. Snow forget how to fall, accelerated horizontally in the relentless storm.

A blend of synthetic fiber, fleece and feather kept me warm. I was better off not knowing the windchill. Access to the day’s show was all I needed. It had been five years since my first encounter with Ravens, and I couldn’t have asked for a better way to celebrate the anniversary.

This project began on whim after bitter winds brought and early end to a mountain ski trip in February 2014. Back in the parking lot I watched a small group of Ravens from the comfort of a warm car and a thermos of hot cocoa. There they were, gliding effortlessly between towering fir trees, not a care in the world. It was enchanting.

I’d never photographed birds before and almost drove home. But something about those Ravens drew me over. I put on snowshoes and walked to them. Did I decide to come to the Ravens, or did they decide to have me come over? I’m still not sure.

Premier Showing - All new work and first edition prints

You may find Adam’s raven work at

Deb Stoner 06-04-19

Deb Stoner, Garden Studies

April 13 – June 4, 2019
Artist reception Saturday April 13, 2019, 5-8pm (calendar)

Imogen Gallery
240 11th St
Astoria, OR 97103
Daily (Wed by appointments): 11AM to 5PM
Sundays 11AM to 4PM

“Fourth of July”, archival pigment print, image 60” x 42” on rag paper 74” x 60”
Garden Studies
The past few years have been tumultuous by anyone’s accounting. Fires and tsunamis and insane leaders of the world give me a distinct feeling of the world being out of control. Perhaps it is my art work that grounds me, that gives me at least an illusion of being in control, if only on the 8.5”x11.7” scanner glass on which I compose my still life photographs.

I make high resolution images of things I gather in nature, from intensely dense urban floral gardens to experimental vegetable breeding gardens. This year was the first where I made photographs from the mobile studio that my partner made from a 1952 vintage trailer, marking freedom from the tether of my usual home studio. Some of these photographs have come from that experience. All are a continuation of a large ongoing body of work called “A Year in the Willamette Valley”, a reference to place and time. Obviously inspired by 16th and 17th century European floral painters, as well as the natural/fake large scale dioramas in natural history museums, I’m mostly interested in making beautiful compositions. The scanner, as my photographic tool of choice, reveals extraordinary details far beyond the ability of my unaided eyes. My obsession is paying attention to phenomenal and ephemeral events in gardens throughout the year and making images with them in real time.

This opportunity to show at Imogen Gallery coincided with my having access to a large printer. I’ve always made my work to a very high resolution with large scale in mind, and I sit for hours in front of my computer prepping the images so that they can be printed this large. But only rarely have I seen my work in its physical self this big, and it’s exciting for me to see these massive unwieldy paper objects crowded into this tiny space.
This fall I’ll get to see the work even larger…I won a juried competition to have my images printed on vinyl to wrap the Palos Verdes Art Center in Rancho Palos Verdes, California. Yep, the whole building exterior. Watch this space for details!

Deb Stoner holds an MFA in Applied Design from SDSU, a BS in Geology from UC Davis, and a decades long teaching career at Oregon College of Art and Craft. Recently she presented lectures on photography to the Yuma Symposium, the Portland Art Museum, the SPE NW Regional Conference; had solo shows in 2017, 2016 and 2015, with two scheduled for 2019; numerous group shows; juried purchases in the permanent public art collections at University of Oregon, OHSU, PCC, and the Portland International Airport; is the recipient of grants and a recent residency; and sells work to enthusiastic collectors.

Sharon Lavier O’Keefe 06-15-19

Sharon Lavier O’Keefe, Learn Manual - Understand Auto

Saturday’s, 4/13 through 6/15, 9am-1pm (calendar)
No class on 4/27 & 5/25

Clark College
Main Campus
1933 Fort Vancouver Way
Vancouver, WA 98663

Tuition: $259
The class has limited enrollment so sign up now if you are interested.
The registration link is

If you’re new to photography, new to your camera, or need to get back up-to-speed with your photography this hands-on class is right for you.

Demystify your camera’s functions and learn to use Manual versus Automatic. Learn about f/Stops, shutter speed, depth of field, exposure, histograms and composition while getting acquainted with your camera and lens optics. Through homework assignments, frequent field walkabouts and constructive photo critiques learn to control your camera so you’re the one creating the photo—not letting the camera decide for you. Bring camera, owner's manual, and dress for weather.

Magnet School 05-26-19

Students from Arts & Communications Magnet School Beaverton, Oregon and Battle Ground High School Washington, 2nd Annual Student Show

March 1st to May 26th
Artist reception: Saturday, April 20th, 1 to 3pm (calendar)

Cedar Hills Park and Rec Center
11640 SW Park Way
Portland, OR 97225

Kelli Pennington 06-13-19

Digital Photography 2 with Kelli Pennington at PCC (Cascade Campus)

Tuesday and Thursday, 9 am - 11:50 pm, April 2 - June 13 (calendar)

Cascade Campus
705 N Killingsworth St.
Portland, OR 97217
(971) 722-6111
$312 + fees

- This class will strengthen your Photography and Editing skills.
- Introduce you to different lighting techniques - including studio lighting with Alien Bee Strobes.
- With a special focus on advanced printing skills, while exploring different paper surfaces.

The students in this class will receive over $100 of free paper samples donated by * Moab * Hahnemuhle * Canson * Red River * Awagami and others.

The central focus of this class is to work in the studio on different lighting techniques and to learn advanced printing skills while exploring different paper surfaces. We have had paper donations from Canson, Moab, and Hahnemuhle and Awagami. Each student will receive $100 worth of paper free.

If you have taken ART240 A and would like to take the course again, we will work on strengthening your portfolio and allow for 3 self-directed projects.

Please consider registering for this course. If you are interested in taking this class but have concerns about having the correct number of core classes, please email me, I will need your G Number to provide you with an override.

***SPRING 2019*** CASCADE CAMPUS —Digital Photography 2— Tuesdays and Thursdays 9-11:50 ART240 CRN: A -25026 , B -25029 , C -2503

**Questions please contact -*

Adrian Klein 06-11-19

Adrian Klein, “Essential Nature” Landscapes

Now – June 11, 2019 (calendar)

UO Law School Gallery (2d floor)
1515 Agate St.
Eugene, Oregon 97403
Every day / 9 am- 8 pm

“Essential Nature” landscapes of the Northwest and Hawaii is an exhibit of 20 color photographs by award winning Portland photographer, Adrian Klein. The adventure mountain and ocean photographs on canvas and aluminum are on display at the Oregon Law Gallery from January 21 to June 11, 2019 from 9 to 8 PM daily.

Klein’s photography often is the result of long backpacking hikes into national parks and wilderness areas. The beauty of flowers, landscapes, and running water come through in his wonderful images. As Klein explains ‘my love of nature has nurtured my love of photography.”

Blue Sky Drawers 2019

2018 Pacific Northwest Photography Viewing Drawers Artists Announced

First Thursday, April 5th (calendar)

Debuting on First Thursday, April 5, and coinciding with Portland Photo Month, each artist will be represented by 10 original photographic prints or objects from a single body of work in a dedicated archival, flat file drawer at Blue Sky through March 2019.

Blue Sky Gallery
122 NW 8th Avenue
Portland, Oregon 97209 USA
Tuesday - Sunday, 12 - 5 pm
First Thursday 6 - 9 pm

PORTLAND, Oregon - Blue Sky, the Oregon Center for the Photographic Arts, is pleased to announce the names of 42 artists selected for inclusion in its 2018 Pacific Northwest Photography Viewing Drawers Program ("Drawers").

Issac Sachs, Portland Meadows, 2015
2018 Drawers artist and Sitka Residency recipient
Danielle Dean, Elegy (Ripples), 2017
2018 Drawers artist and Sitka Residency recipient

Adam Bacher • Doran Bastin • Susan Bein • Ray Bidegain • Jennie Castle
Harley Cowan • Fretta Cravens • Danielle Dean • Lucas DeShazer • Claire Dibble
Gloria Feinstein • Dean Forbes • Hal Gage • Randi Ganulin • Joseph Glasgow
Sarah Graves • Lauryn Hare • Melinda Hurst Frye • Tim Jaskoski • Ryota Kajita • John Kane
Heidi Kirkpatrick • Cheston Knapp • Brian Kosoff • Zachary Krahmer • Laura Kurtenbach
Julie Lopez • Nathan Lucas • Sofia Marcus-Myers • Ryan Mills • Blue Mitchell
Marilyn Montufar • Stan Raucher • Shawn Records • Pat Rose • Isaac Sachs • Skip Smith
Deb Stoner • Nolan Streitberger • J Swofford • Samuel Wilson • Jennifer Zwick

2018 Juror

Hamidah Glasgow is the Executive Director and Curator at The Center for Fine Art Photography in Fort Collins, Colorado. The Center hosts approximately 17 exhibitions annually and features the work of emerging and established artists from around the world. The Center has been recognized as one of the prestigious nonprofit photography centers in the United States. Ms. Glasgow’s contribution to photography has included curatorial projects, portfolio reviews (FotoFest, Photolucida, Medium, Filter, etc.), contributions to publications and online magazines, and the co-hosting of regional conferences. She is also a founding member of Strange Fire Collective, a group of interdisciplinary artists, curators, and writers focused on work that engages with current social and political forces.