Ashley Stull Meyers

From this Author

Interview with Katherine Bradford

Katherine Bradford. Water Nurses, 2016; acrylic on canvas. Courtesy the artist and Adams and Ollman. Photo: Christine Taylor

Artist Katherine Bradford likes acrylic paint. As a material, acrylic is filled with wonder for its contradictions. Its water-soluble chemistry allows for the kind of dreamy washes that color fields and abstractions often rely on, while its water-resistant setting state is anchored and dependable. Bradford’s solo exhibition Divers and Dreamers, currently on view at Adams and Ollman, is up to the comparison of being dually[…..]

Amir H. Fallah: All Experience Is an Arch at Hap Gallery

Students of metaphysics commonly debate about time and space as an arc—curving and perhaps boomeranging, to ends that are difficult to articulate. Los Angeles–based artist Amir H. Fallah, however, postulates the experience of time and space as something more solid and tangible, akin to a structure engineered for indiscriminate movement back and forth. All Experience Is an Arch at Hap Gallery is an experiential recounting[…..]

The Lasting Concept at Portland Institute for Contemporary Art

Sara Greenberger Rafferty. Testing VIII, 2016 (detail); microphone stand and asparagus, dimensions variable. Courtesy of the artist and (gallery). Photo: Evan La Londe/WORKSIGHTED

The Lasting Concept at Portland Institute for Contemporary Art (PICA) is, by design, chronically unsure of its form. Initially conceptualized as a publication of the same name, the exhibition explores the nagging, process-driven revelation of being unable to excise a particular understanding from one’s thinking. With content that requires a method of digestion similar to reading, the exhibition’s connection to experimental publishing is evident. It’s[…..]

Mike Bray: Light Grammar/Grammar Light at Fourteen30 Contemporary

Mike Bray. ​The Necessity to Interfere with Movement​, 2016; light stands, ​acrylic, neon;​ 60​ x ​78​ x ​6​ inches. Courtesy of the Artist and Fourteen30 Contemporary.

The mechanics of grammar are the starter set of must-know rules for uniform speaking. They are the basic regulations without which language can be rendered clumsy beyond comprehension. Artist Mike Bray engages with these mechanics through his video, photographic, and sculptural works. At first concerned with the logistics of light and form on a fundamental level, Bray’s works expand to make visible their potential through[…..]

Leif Anderson: TATTARRATTAT at Melanie Flood Projects

Leif Anderson. Purple Slurry, 2015; installation view, TATTARRATTAT, 2015. Courtesy of the artist and Melanie Flood Projects. Photo: Worksighted.

The word “Tattarrattat” was first birthed in James Joyce’s 1922 novel, Ulysses. It’s the longest palindromic word in English literature and an unmistakable onomatopoeia that takes inalienable form only in a moment we can collectively imagine: a furious rapping at the door. Such phrases within Joyce’s Ulysses and Finnegans Wake make him a legend amongst Modernist writers who are trepidatious about inventing words where none[…..]

Book of Scores at Disjecta

(From left to right) Ellen Lesperance, Alison O'Daniel and Helga Fassonaki. Book of Scores, 2015; installation view, Disjecta, Portland, OR. Courtesy of Disjecta. Photo: Worksighted

Cinematic moments are often remembered because of the dramatic musical accompaniment. Alfred Hitchcock’s Psycho is forever memorable in part for its menacing theme composed by Bernard Herrmann. Likewise, Star Wars is instantly recognized due to John Williams’ heroic use of trumpets. Book of Scores, on view at Disjecta, is an exhibition that is equally as pointed in its intention. Occupying many forms of sculpture, sound,[…..]

Ellen Lesperance: We Were Singing at Adams and Ollman

Ellen Lesperance. We Were Singing, 2015; installation view, Adams and Ollman, Portland. Courtesy of the Artist and Adams and Ollman. Photo: Mario Gallucci.

Not many things are more difficult than articulating love. Displaying a lack of temperance can appear obsessive, while showing any sign of hesitance can be mistaken for a number of unintended things. Every so often, an individual demonstrates the ability to toe the line so eloquently and sincerely that the outcome is a lesson in expert labor. Ellen Lesperance’s exhibition We Were Singing at Adams[…..]