Critical Conversations is a collaboration between The Ford Foundation’s Visual Arts Program and the University of Oregon, in partnership with Pacific Northwest College of Art at Willamette University, the Jordan Schnitzer Museum of Art at Portland State University, and the Douglas F. Cooley Memorial Art Gallery at Reed College.
Critical Conversations provides a space for artists and cultural producers that is rooted in exchange and inquiry. Organizing partners facilitate a year-round calendar of studio visits for Oregon artists by prominent visiting curators and arts writers, who also offer public lectures and other forms of engagement to our community. Recognizing the nexus between artists and those who reflect upon and present their work, Critical Conversations also sponsors a series of convenings, commissioned writing, and an annual publication that specifically engage Oregon’s curators and arts writers around currents in society and the field.
by Bean Gilsdorf Originally published November 2020 A dejected cloth rainbow, an animate boulder guiding a smaller rock through a city, a series of clownish […]
by Stephanie Gervais Originally published July, 2019 I made Shield in 2014, while living between Rio de Janeiro and São Paulo, Brazil. My friend Yuri […]
by Patrick Collier Originally published May 2019 To the casual viewer, abstract painting may seem to lack coherence. Familiar epithets abound, usually because there is […]
by Paul Maziar Originally published July 2019 Precipitous calcite Mined from the hills of Nephi By harried and obsessive men Who probably tote guns Who […]
by Josephine Zarkovich Originally published May 2019 Recently I have begun to document all the steps I take to perform each task in my […]
by Meagan Atiyeh Originally published March 2020 Kristan Kennedy’s color-field paintings are worked and washed in a repetitive process. A small number of marks, additive […]
by Carlin Brown Originally published March, 2019 The entrance to the lumber room’s lower level glows a flush pink. The unexpected color dissipates in the […]
by Richard Speer Originally published Feb, 2019 To post or not to post? In light of the “delete-Facebook” and anti-social-media movements, an increasingly vocal contingent […]
by Briana Miller Originally published February, 2019 In 1975, the non-profit Friends of Timberline launched a project to recreate and restore the textiles of Timberline […]
By Karl Davis Originally published January, 2019 Nestled in the foothills of the Blue Mountains in northeast Oregon, Crow’s Shadow Institute of the Arts has […]
By Sam Hopple Originally published May 2018 In Waiting Room, Heather Watkins presents a series of thirty-two, hand-stitched embroideries that line the walls of PDX […]
A Social Good by Sue Taylor Originally published April, 2017 The five writers commissioned for the Oregon Visual Arts Ecology Project in 2017 had a […]
By Grace Kook-Anderson Originally published August 2017 In The Lure of the Local, Lucy Lippard defines place as “the locus of desire.” That locus for […]