ART PRACTICAL / DAN PAZ: the sun never knew how great it was until it struck the side of a building

Dan Paz.  Credits , 2019; video; installation view,  The sun never knew how great it was until it struck the side of a building , HOLDING Contemporary. Courtesy of HOLDING Contemporary, Portland. Image by Mario Gallucci

Dan Paz. Credits, 2019; video; installation view, The sun never knew how great it was until it struck the side of a building, HOLDING Contemporary. Courtesy of HOLDING Contemporary, Portland. Image by Mario Gallucci

There is a direct correlation between race, poverty, and imprisonment; surveillance and national educational frameworks play a role in eliciting the behaviors they supposedly seek to prevent. Ultimately, the video and sculptural works in Paz’s exhibition meditate on the buildings where society has placed its youths at a formative time in their lives. These buildings and questions surrounding the modes of community support they advertise lie at the heart of contemporary criticism for our prisons and schools alike.

-James Knowlton for Art Practical

EILEEN ISAGON SKYERS FEATURED AS ONE OF WILLAMETTE WEEK'S FIVE ART OPENINGS TO SEE THIS WEEK

Eileen Isagon Skyers' show Eyes Without a Face is featured in Willamette Week: Here Are the Five Art Openings We’re Most Excited to See This Week. 

"In her essay 'Eyes Without A Face,' Eileen Isagon Skyers portrays technology as an illusionary comfort that could slip out from underneath us at any moment. "The relationship is one-sided, requiring only that we engage continuously with a luminous, manufactured surface that does not, and could not, reciprocate our empathy," writes the Pacific Northwest College of Art-educated New York artist. The essay traces our desire to fuse the digital world with our own reality, from the trash can icon on your desktop to Siri and AI. But like the essay that it takes its name from, Skyers' multimedia exhibit is intended more as an open-ended inquiry than a forecast of doom."

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ART PRACTICAL COVERS PAULA WILSON: FLOORED

James Knowlton of Art Practical reviews Paula Wilson: Floored at Williamson | Knight

"Muslin, printed to mimic wooden floorboards, takes the place of typically white exhibition walls and becomes the backdrop for several prints. These pieces take the shape of rugs. Some depict a formalist appreciation for patterns, while others feature gestural bodies and patterns in movement, working in tandem. Throughout the show there is an impression of lively, spontaneous gesture and movement in the form of dance."                             

 —James Knowlton

Image by Mario Gallucci

Image by Mario Gallucci

MATERIAL ART FAIR 2018

Williamson | Knight is excited to be exhibiting works by Sheida Soleimani at the 2018 Material Art Fair in Mexico City.

Check out what ArtNews has to say about the Fair's expansion and a full list of exhibitors here.

A performance of Geoffrey Farmer’s PlantProcession (2017), at Material’s 2017 edition as part of IMMATERIAL, curated by Michelangelo Miccolis.

A performance of Geoffrey Farmer’s PlantProcession (2017), at Material’s 2017 edition as part of IMMATERIAL, curated by Michelangelo Miccolis.