Tuesday, November 6, 2012

Saturday, October 13, 2012

mario caoile paintings

Recent abstract oil paintings by Mario Caoile at Blackfish Gallery. Video/interview by H. Koba. October 2012, Portland, Oregon.

mario caoile paintings

Friday, October 12, 2012

Ellen Goldschmidt 'Not all black & white' drawings

“Not all black and white” Ellen Goldschmidt’s large scale drawings at Blackfish Gallery, October 2012.

drawings by ellen goldschmidt

Thursday, October 11, 2012

Fishbowls – Joe Cantrell & Bonnie Meltzer at Blackfish, Oct 2012

Joe Cantrell “Weed” and Bonnie Meltzer “Know coal, no coal” at Blackfish Gallery. October 2012, Portland, Oregon

Saturday, September 15, 2012

Saturday, August 11, 2012

East Meets West at Blackfish

Artists of Central & Eastern Oregon. EAST meets WEST was curated by Sandy Brooke, Henry Sayre and Boyd Harris. Participating artists: Lorie Baxter, Sandy Brooke, Shari Dallas, Tom Dimond, Terry Gloeckler, Don Gray, Sandra Harris, Frank Janzen, Peter Christian Johnson, William Hoppe, Judd Koehn, Ryan LaBar, Peter Meyer, Randy Redfield, John Simpkins, Andrew Wachs

Sunday, July 15, 2012

Tuesday, June 12, 2012

stephan soihl "kinetic explorations" at blackfish

Steve Soihl "Kinetic Explorations" at Blackfish Gallery, June 2012. Soihl talks about his kinetic sculpture, etchings and watercolors.

Monday, June 11, 2012

Steve Soihl on work by Kathe Chase and Howard Neufeld

Steve Soihl talks about the work of Kathe Chase and Howard Neufeld who are showing with him "Kinetic Explorations" at Blackfish Gallery, June 2012

Friday, June 8, 2012

Tuesday, May 1, 2012

joellyn loehr 'intimate symmetries' may 2012

Joellyn Loehr 'Intimate Symmetries' paintings, solo show at Blackfish, May 2012

in the backroom, may 2012

Backroom show, May 2012, Blackfish artists

Barbara Black

Kanetaka Ikeda

David Selleck

Yoonhee Choi

fishbowls, may 2012

Rita Alves, fishbowl 1

FB 1 - Rita Alves

Chanel Conklin, fishbowl 2

FB 2 -Chanel Conklin

blackfish artists, april 29

April 29 meeting

steve & lynda, between the fishbowls

Friday, April 13, 2012

Wednesday, March 14, 2012

mandy stigant at blackfish

Mandy Stigant sculpture, new members show March 2012

merridawn duckler at blackfish

Merridawn Duckler installation of painted words on wall, the text from Walter Benjamin’s essay “The work of art in the age of mechanical reproduction”. New members show, March 2012

Tuesday, March 13, 2012

Monday, February 27, 2012

New members show March 2012

EXHIBITION DATES: February 28 to March 31
First Thursday opening: March 1st, 6-8:30pm
Hours: Tuesday - Saturday, 11am - 5pm


Merridawn Duckler Performance/Lecture: 3/11, 7-9 pm

Ceramic sculpture puzzles, a wall of words, and a range of works that look at life-as-carnival are the highlights of the March 2012 New Member Exhibition.
We are happy to introduce the three newest artists of the Blackfish Gallery membership.

Mandy Stigant

Merridawn Duckler

Rita Alves

Palmarin Merges showing in backroom space

Palmarin Merges

Monday, February 6, 2012

jim neidhardt 'modern screen'

jim neidhardt talks about his show 'modern screen', february 2012

steve soihl installation in backroom, feb 2012

steve soihl ‘tilted shaft—suspended elements VI’ at blackfish gallery backroom, february 2012

tilted shaft

Thursday, January 12, 2012


For example, it would feel totally counter productive to add any text to this "idea" of Motherwell's

But this one seems to inspire commentary

Saturday, January 7, 2012

new dynamic design

Trying out the new dynamic design template by Blogger. The default page for now is the magazine format. There are seven choices on the dark gray band: classic, flipcard, magazine, mosaic, sidebar, snapshot and timeslide. Will be trying the other templates as default from time to time. Just so you know.

To find all the artist video interviews go to Flipcard > Label > 'artist interviews'. The 'exhibit videos' don't have the artist talking.

Blackfish artists who signed up can post by going to http://www.blogger.com/home.
Sign in with your email address and password and click on the 'new post' button.
You can edit your post later by clicking on the pencil icon next to your post title.

UPDATE, Jan 19, 2012
Changing blog template back to something simpler today. Keeping this post for now in case we go back to the dynamic template.

Wednesday, January 4, 2012

Tuesday, January 3, 2012

The secret life of Objects


I belonged to the cooperative gallery Blackfish a while ago and this month I rejoined its membership. It’s somewhat unusual to be a writer in the gallery but I always felt at home among visual artists. When I was a teenager, I used to go to Menucha in the Columbia Gorge and I’d write among the artists at their easels. It was the only time in my life I enjoyed writing in public and I can still conjure that studio with its stringent smell of oil, the palettes dotted with colors like miniature abstract expressionist works, the broad, desirable light flooding the studio, which had once been a green house. I was inspired by the work and the workers. Visual artists just seemed so much more industrious than us writers, maybe because the ideas were physicalized. I always felt their aesthetic concerns matched my own, trying to put elements together in a beautiful, expressive, cohesive fashion that left room for the self and left room for an outside eye.

Now that I am a new member I have to produce something. The problem, of course, is that I am not an object maker. When I belonged before, I concentrated on poetry. Like I did a piece on Eliot’s “correlative objective.” I think I was hiding a little, as if poetry had more rights to the objects than fiction (think Keats urn etc.) But I have a feeling it’s going to be different this time around. The first object I’ve produced—for a group show on influences—is a marked up Janson’s “History of Art.” I call it Prepared Janson’s because, I did prepare it and also John Cage was a big influence on me and he coined the term (and the object, and the idea) “prepared piano.” I also listed as an influence “an ugly thing that contains a beautiful thing” because, man, a marked up book is an ugly thing. And I really marked it up, too, underlining, angry accusations, lots of exclamation points (so true!!!!!) and such. I also put in funny stuff, cryptic things, scholarly items. I seriously doubt anyone will read it but I felt compelled to make it as if I had to stand behind every statement. As I sat there for hours with my pencil sharpener and my highlighter, I also had hours to think about art and commentary, and how powerful pictures make us want to talk about them. I feel kind of bad making something ugly for my return but I’m hoping there is nowhere to go but up. I think I’m going to be the member that starts conversations, like little fires among the artists that illuminate, not consume their works.