What’s far more interesting,” he says, “is what compels someone known for making art to want to do this and how savvy they have to be to get it done and what sort of difference it makes.
Explore The Pearl | The Official Site of Portland's Pearl District - 0 views
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"Once known as the Industrial Triangle-filled with railroad yards and timeworn turn-of-the-century warehouses-the Pearl District today is an award-winning, internationally recognized leader in urban renewal, culture and "LEED" certified buildings. As one of the most desired neighborhoods in the country to call your home, work space, or playground, the Pearl is clear validation that high-quality, inner-city communities can revive from the ashes of urban decay. Often considered the "gold standard" of live, work and play mixed-use space, the Pearl District is proof that inner-city living at its finest can rise from the ashes of urban decay."
Contemporary Oregon Visions: Jo Hamilton and Irene Hardwicke Olivieri - 0 views
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These two contemporary Oregon artists offer two substantially different but equally innovative approaches to figurative art. Hamilton, born in Glasgow, Scotland, in 1972, found her true home when she moved to Portland in 1996. After painting for almost twenty years, her artistic practice was transformed when she visited a non-traditional textile arts exhibition. From there she was inspired to fuse the two parts of her life that were closest to her-her daily urban environment and her grandmother's tradition of crochet. Often portraying friends and co-workers from her days in the food-service industry, Hamilton's work displays a whimsical and affectionate vision of working-class Portland. As her work has progressed, she has taken on other subjects as well, including mug shots from Multnomah County, industrial landscapes of Portland, and full-figure nudes.
The Creative Economy - 0 views
Chicago's Opportunity Artist - NYTimes.com - 1 views
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Gates sometimes describes his work as reimagining the possibilities of “black space.” Could a block of decaying two-flats well beyond the city’s cultural and economic hubs be converted to form a new creative cottage industry? Could artistic types be drawn there and made to think of themselves not as gentrifiers but as entrepreneurs with a stake in the African-American community?
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Gates may be performing the archival functions of a major academic institution, the social programming and physical redevelopment of government (his team hired 14 guys from around Dorchester to carry out the gutting of the bank), but he’s doing this in a way that satisfies his own aesthetic appetite and follows the peculiar byways of his imagination
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