Left to right: Bean Gilsdorf, Grace Kook-Anderson and Ashley Stull Meyers.

Left to right: Bean Gilsdorf, Grace Kook-Anderson and Ashley Stull Meyers.

PANEL TALK WITH BEAN GILSDORF, GRACE KOOK-ANDERSON AND
ASHLEY STULL MEYERS

Saturday, August 17 at 4:00 pm
Click here to RSVP

Panelists Bean Gilsdorf, Grace Kook-Anderson and Ashely Stull Meyers delve into questions related to the works in Dear Lucy and beyond: Are images of women made by women qualitatively different? How do evolving feminist practices connect to visual culture? What place is there for ambiguity or ambivalence in political art? Audience participation will be encouraged. Gilsdorf is one of the artists in the exhibition, Kook-Anderson is a curator at Portland Art Museum, and Stull Meyers is co-curator of the Portland2019 Biennial presented by Disjecta. More info here.

 
Rodrigo Valenzuela,  Road No. 1 , 2015, archival pigment print, 34 x 42 inches, edition of 3 plus 1 AP.

RODRIGO VALENZUELA

September 4 – 28, 2019
First Thursday opening September 5, 6–8 pm

October 2 – November 2, 2019
First Thursday opening October 3, 6–8 pm (artist present)

Rodrigo Valenzuela’s third solo exhibition at Upfor is comprised of two parts: in September, a selection of prior work from major series; and in October, the debut of a new body of monochromatic photographs. As in previous series American-type, General Song and Hedonic Reversal, the new works leverage the flattening effect of the camera and a process of staging and re-staging to play with viewers’ sense of perspective. The new series, not yet titled, makes use of elements of electronic product packaging and Brutalist aesthetics. Please check back for more information.

 
MalloryB-Iterum_Bands_detail.jpg

BRENDA MALLORY

November 6 – December 21, 2019
First Thursday opening November 7, 6–8 pm (artist present)

For her first solo exhibition at Upfor, Brenda Mallory presents new works exploring ideas of reclamation and reformation. Often taking relatively simple components and combining them into complex sculptures, she employs different materials across multiple iterations of a form. "For example," Mallory explains, "I created a piece from rubber drive belts, then used that as a mold to create a similar object in cast paper, and yet another in cast glass." Mallory's unorthodox materials and processes often result from seeking new uses for discarded materials. Based in Portland, Mallory is a member of the Cherokee Nation and is a recipient of a 2018 Ucross Fellowship for Native American Artists. Please check back for more information.