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DTSTART;TZID=America/Los_Angeles:20180309T170000
DTEND;TZID=America/Los_Angeles:20180309T190000
DTSTAMP:20260403T145944
CREATED:20180226T084649Z
LAST-MODIFIED:20180226T084649Z
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SUMMARY:Ann Carstensen\, Leslie Ebert & Diana Milia at 510 Museum & Art Space
DESCRIPTION:Ann Carstensen\,  & Diana Milia\, Light and Abstraction \nMarch 9 – April 13\, 2018\nReception: March 9th\,  5 – 7 pm \n510 Museum & Art Space\n510 1st Street\nLake Oswego\, OR 97034\n503.675.3738\nThe 510 Museum is open weekdays 11 – 4\ninfo@ci.oswego.or.us\nwww.artscouncillo.org \nPlease Join abstract photographer Leslie Ebert\, Painter Diana Milia and upcycled materials Artist Ann Carstensen for the opening reception of new work about bring light into three different mediums & substrates.   Leslie Ebert Will be showing seven large abstract photographs printed on silver aluminum panels from her Energy of Croatia series. \nwww.LeslieEbert.com \n 
URL:https://lukeolsenphotography.com/event/ann-carstensen-leslie-ebert-diana-milia-510-museum-art-space/
LOCATION:510 Museum & Art Space\, 510 1st Street\, Lake Oswego\, OR\, 97034\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180308T180000
DTEND;TZID=America/Los_Angeles:20180308T193000
DTSTAMP:20260403T145944
CREATED:20180206T222103Z
LAST-MODIFIED:20180206T222103Z
UID:571-1520532000-1520537400@lukeolsenphotography.com
SUMMARY:"In a Different Light" Panel Discussion at Maude Kerns Art Center in Eugene
DESCRIPTION:In A Different LightRich Bergeman\, Phil Coleman\, Sandi O’Brien\, Jack Larson\, Paul Barden \nFebruary 23 – March 23\, 2018Opening reception: Friday\, February 23\, 6-8 pmArtists’ Panel Discussion: Thursday\, March 8\, 6-7:30 pm \nMaude Kerns Art Center1910 E. 15th Ave.Eugene\, Ore. 97403(541) 345-1571www.mkartcenter.orgHours: Tues-Fri\, 10 am – 5:30 pm; Sat\, 12 – 4 pm \nFive Willamette Valley photographers will show recent infrared images in and exhibit titled “In a Different Light.” The exhibit takes its name from the fact that infrared photography sees the world in a way that is not visible to the naked eye. Infrared light lies just above the visible spectrum\, between 700 and 900 nanometers (nm) in wave length\, whereas the human eye is sensitive from about 400nm (blue) to about 700nm (red). But even though the higher infrared range doesn’t register with our eyes\, it can be recorded with special black-and-white films and with converted digital imaging sensors. Examples of both techniques are represented in the show. \n“The world of infrared is quite different from what we’re used to seeing\,” said Rich Bergeman\, who brought the photographers together for the exhibit. “It can create surreal\, dream-like images\, while in other cases it produces a more subtle shift in tones.” \nIn the natural landscape\, most organic objects\, especially plants\, reflect more infrared light than do inorganic things like water\, rocks and the sky. In black-and-white IR photography\, this usually results in dramatic skies and snowy-looking landscapes. In color infra-red photographs\, blues often dominate\, and the effects are even more pronounced where ever sunlight strikes.Each of the photographers in the show has decades of experience with various forms of photography. Some began exploring infrared in the past decade after converting digital cameras to record IR light\, while others have been using black-and-white infrared film for many years. \nThe photographers will talk about their work at a panel discussion on Thursday March 8 from 6-7:30 pm in the arts center.
URL:https://lukeolsenphotography.com/event/different-light-panel-discussion-maude-kerns-art-center-eugene/
LOCATION:Maude Kerns Art Center\, 1910 E. 15th Ave.\, Eugene\, OR\, 97403\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180303T090000
DTEND;TZID=America/Los_Angeles:20180303T170000
DTSTAMP:20260403T145944
CREATED:20180221T083230Z
LAST-MODIFIED:20180221T083230Z
UID:596-1520067600-1520096400@lukeolsenphotography.com
SUMMARY:Kevin Shick at Camerawork Gallery
DESCRIPTION:Kevin Shick\, The Commuters \nMarch 3rd – March 30th\, 2018 \nCamerawork Gallery\n2255 NW Northrup Street\n(Linfield School of Nursing – Peterson Hall)\nPortland\, OR 97210\nhttp://www.TheCameraworkGallery.org\nhttp://www.facebook.com/cameraworkgallery\nGallery Hours: 9am-4pm\, Monday-Friday\, Saturday 9am-5pm \nIndiana Photographer Kevin Shick notes\, “The Commuters series depicts the daily lives of commuters on the Rock Island train line in Chicago\, just minutes from their arrival at the terminal. I see these candid street portraits as windows into each rider’s personal outlook and the experiences that may have created that outlook. \n“I photographed the riders\, taking pictures almost every day for several months\, discovering in the process that many riders stood in the same place\, doing the same thing\, often wearing similar clothes and expressions. \n“Others\, whether they were happy\, pensive\, worried\, or self-distracted with a smartphone\, seemed to have their actions and outlooks determined less as the result less of conscious choice than as the result of unconscious habit or unknown personal experiences. \n“Because of the time and place where they are taken\, these portraits reveal true identities\, as opposed to the public mask we often wear. As Luc Sante wrote in Walker Evans’ book of subway portraits Many Are Called\, “time spent commuting is a hiatus from social interaction…you can take off the face you wear for the benefit of others”.” \nWe can all relate to the daily commute as a transition from our personal lives to our working lives and back. Each of us has\, by nature or habit\, a unique view on life that is revealed in the unguarded moments during this transition. As James Agee wrote in Many Are Called\, “Each [person]…is an individual existence\, as matchless as a thumbprint or snowflake. … Each carries in the postures of his body\, in his hands\, in his face\, in the eyes\, the signatures of a time and a place in the world.” \nKevin Shick is a fine art photographer whose work explores the human condition and the contemporary American experience. By observing the public and private spaces where our interaction with each other and with the environment occurs\, he aims to reveal our collective contemporary culture and individual states of mind. He got started in photography over 40 years ago by developing and printing family portraits in a wet darkroom\, and by exploring nature with an Argus Rangefinder during family trips to Yosemite and the Sierras. Since then he has continued to study the juxtaposed urban and natural landscapes\, seeking situations where light and moment come together to reveal insights about human nature.\nShick has a degree in Electrical Engineering from the University of Illinois\, and an MBA from the University of Chicago. Following a career in technology and consulting\, he now pursues a photographic life. His work has been exhibited and published nationally\, and is included in several private collections. He lives most of the year near the Indiana Dunes National Lakeshore\, traveling frequently with his wife in their RV. \nwww.KevinShick.com \n 
URL:https://lukeolsenphotography.com/event/kevin-shick-camerawork-gallery/
LOCATION:Camerawork Gallery\, 301 N. Graham Street\, Portland\, OR\, 97227\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180302T180000
DTEND;TZID=America/Los_Angeles:20180302T200000
DTSTAMP:20260403T145944
CREATED:20180223T191100Z
LAST-MODIFIED:20180223T191100Z
UID:603-1520013600-1520020800@lukeolsenphotography.com
SUMMARY:Smith Eliot "Ghost Ships" at Wolff Gallery
DESCRIPTION:Smith Eliot\, Ghost Ships \nFebruary 28th – April 29th\, 2018\nOpening Reception March 2nd\, 6:00 – 8:00 pm \nWolff Gallery\n2804 SE Ankeny St. Portland OR 97214\nWednesday – Sunday 11:00 am – 6:00 pm\nwolffgallerypdx@gmail.com\nwww.wolffgallery.com \nLegend has it that the Octavius\, a three-masted schooner\, was found adrift by a whaling boat in October of 1775. A search party of five from the whaler climbed aboard the Octavius and discovered the entire crew of twenty-eight fully dressed and frozen at the helm. The captain was seated at his desk\, pen in hand…also frozen. According to his log\, last dated October of 1762\, the Octavius had been lost at sea for over thirteen years.\nInspired by tales of ships floating aimlessly in open waters\, suddenly abandoned or with passengers and crews left in various stages of decomposition\, Smith Eliot’s Ghost Shipsconsists of photographs and objects that position people as these vessels adrift\, and as similarly impermanent\, transient\, and mysterious entities. Eliot’s images are the result of digital and analogue photographic processes\, encased in vintage frames with convex glass to visually reference ships’ portholes. Many of these frames also function as time capsules and contain small objects alongside the artist’s photographs. \nAs part of her solo exhibition\, Eliot will also present a selection of her Little Boxes\, which focus on the passing of time\, memory\, and challenging relationships. These one-of-a-kind objects include the artist’s original photographs\, antique doll parts\, found animal bones\, insects\, and old books. In many cases viewers must touch\, unlock\, and open each box before many of these surprises may be revealed.\nSmith Eliot is a visual artist and analogue photographer who has been creating mixed media artworks since 1986. She was raised in Germany and lived in cities all across the United States before landing in Portland\, Oregon in 1996. Her work has been exhibited nationally\, won numerous awards\, and has been featured in photography publications such as Diffusion\, Shots\, B&W Magazine\, and Bokeh\, as well as in literary journals such as Calyx. She currently teaches darkroom photography at Portland Community College and at Clackamas Community College. \n 
URL:https://lukeolsenphotography.com/event/smith-eliot-ghost-ships-wolff-gallery/
LOCATION:Wolff Gallery\, 2804 SE Ankeny St.\, Portland\, OR\, 97214\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180302T170000
DTEND;TZID=America/Los_Angeles:20180302T210000
DTSTAMP:20260403T145944
CREATED:20180220T083317Z
LAST-MODIFIED:20180220T083317Z
UID:593-1520010000-1520024400@lukeolsenphotography.com
SUMMARY:Rachel Wolf at Angst Gallery
DESCRIPTION:Rachel Wolf\, Suspended Resonance  \nMarch 2nd – March 24th\, 2018 \nFirst Friday Opening Reception: March 2nd\, 5-9pm \nAngst Gallery\n1015 Main Street\nVancouver\, WA 98660\nangstgallery.com \nOne of the unique properties of silhouettes is their capacity to capture shadows\, holding onto to them through the tracings photography and other media make. Historically\, this has given silhouettes the ability to span time—to fuse together the past and present—in a similar manner as photography. Both have the ability to seize what is ephemeral\, an absence that is a presence. \nSuspended Resonance is a collection of photogram portraits. Photograms\, a camera-less process of working directly on photographic paper with light and chemicals\, make visible what is invisible. These often invisible primary photographic elements become coupled with fleeting and immaterial shadows in the tangible photograph itself. \nFor more information about the artist visit: rachelwolf.com \n 
URL:https://lukeolsenphotography.com/event/rachel-wolf-angst-gallery/
LOCATION:Angst Gallery\, 1015 Main Street\, Vancouver\, OR\, 98660\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180301T180000
DTEND;TZID=America/Los_Angeles:20180301T210000
DTSTAMP:20260403T145944
CREATED:20180223T235611Z
LAST-MODIFIED:20180223T235611Z
UID:610-1519927200-1519938000@lukeolsenphotography.com
SUMMARY:Michal Cala at Blue Sky Gallery
DESCRIPTION:Michał Cała\, Silesia \nMarch 1st – April 1st\, 2018\nFirst Thursday Opening Reception: March 1st 6:00 – 9:00 PM (calendar) \nArtist Talk: Saturday\, March 31st\, 3:00 PM \nBlue Sky Gallery\n122 NW 8th Avenue\nPortland\, Oregon 97209 USA\n503-225-0210\nTuesday – Sunday\, 12 – 5 pm\nFirst Thursday 6 – 9 pm\nbluesky@blueskygallery.org\nhttp://www.blueskygallery.org/ \nFrom 1975-1992\, Michał Cała photographed the Silesia region in his home country of Poland. In the 1970s and early 1980s the area was at its peak of industrial development and mining activity\, providing mass employment at the expense of the environment and public health. Cala remembers his first impression of Silesia as “terrifying and beautiful at the same time\,” leading him to focus his camera on the natural and altered landscape as well as its inhabitants. Although the mines\, factories\, laborers’ housing districts\, and slag heaps no longer exist\, the artist’s gelatin silver prints serve as as an unsettling yet intriguing visual record of this recent period in Polish history. \nMichał Cała was born in Toruń\, Poland in 1948 and studied aircraft construction at the University of Technology in Warsaw in the early 1970s. From 1974 to 1983 he worked as an engineer in various companies in Silesia and began photographing in the area. In 1977 he moved to Tychy in Upper Silesia\, where he co-founded the photographers’ association KRON and became a member of the ZPAF\, the Union of Polish Art Photographers. In 2007 he was named one of most important Polish photographers in the last century and participated in the group exhibition Polish Photography in the 20th Century shown in Warsaw and in Vilnius\, Lithuania. Cala’s work is in several museum collections\, including in the Silesian Museum of Katowice\, the Silesian Library in Katowice\, the Upper Silesian Museum in Bytom\, the Coal Mining Museum in Zabrze\, and in the local government building in Duisburg in the Ruhr\, Germany\, and various private collections. Publications on his work include The Anthology of Polish Photography 1839–1989\, The Masters of Polish Landscape\, and Polish Photography in the 20th Century. Cala now lives in Bielsko-Biała in Poland and is represented by MMX Gallery in London. \n 
URL:https://lukeolsenphotography.com/event/michal-cala-blue-sky-gallery/
LOCATION:Blue Sky Gallery\, 122 NW 8th Avenue\, Portland\, OR\, 97209\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180301T180000
DTEND;TZID=America/Los_Angeles:20180301T210000
DTSTAMP:20260403T145944
CREATED:20180223T234751Z
LAST-MODIFIED:20180223T234751Z
UID:608-1519927200-1519938000@lukeolsenphotography.com
SUMMARY:Zun Lee at Blue Sky Gallery
DESCRIPTION:Zun Lee\, Father Figure \nMarch 1st – April 1st\, 2018\nFirst Thursday Opening Reception: March 1st 6:00 – 9:00 PM \nArtist Talk: Saturday\, March 3rd\, 3:00 PM \nBlue Sky Gallery\n122 NW 8th Avenue\nPortland\, Oregon 97209 USA\n503-225-0210\nTuesday – Sunday\, 12 – 5 pm\nFirst Thursday 6 – 9 pm\nbluesky@blueskygallery.org\nhttp://www.blueskygallery.org/ \n“My own journey of identity formation and cultural belonging formed the motivation for this visual exploration of fatherhood. I used my lived experience of being nurtured by African American families and father figures since my early childhood while dealing with my personal history of paternal abandonment. This helped me build a specific visual vocabulary that guided me through this work.” \nIn Father Figure\, Zun Lee offers an intimate view of the daily lives of Black fathers with whom he has worked closely since 2011—men from the Bronx\, Harlem\, and Washington Heights in New York who are often parenting within difficult economic and personal circumstances. Through his touching and honest black-and-white portraits\, Lee invites us to see these men as dedicated parents who challenge stereotypes of Black masculinity and absent fathers.\n\nDr. Zun Lee is a Canadian visual artist\, physician\, and educator whose work encourages alternate ways of thinking about community and belonging. He was born and raised in Germany and has also lived in Atlanta\, Philadelphia\, and Chicago. Intersubjectivity and trust dynamics are an important component of Lee’s work as he embeds himself in his subjects’ daily lives to uncover stories of identity and connection. Lee has exhibited solo shows at Duke University\, the Harvey B. Gantt Center for African American Arts + Culture and BAND Gallery in Toronto\, Jefferson School of African American Heritage Center in Charlottesville\, VA\, and Galerie Jed Voras in Paris. Selected honors and awards include: Art Gallery of Ontario Artist-in-Residence (2017)\, Magnum Foundation Fellow (2015)\, Photo District News Photo Annual Winner (2015)\, Paris Photo/Aperture Photobook Awards Shortlist (2014)\, and Photo District News’ 30 New and Emerging Photographers to Watch (2014).\n \n 
URL:https://lukeolsenphotography.com/event/zun-lee-blue-sky-gallery/
LOCATION:Blue Sky Gallery\, 122 NW 8th Avenue\, Portland\, OR\, 97209\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180301T090000
DTEND;TZID=America/Los_Angeles:20180301T180000
DTSTAMP:20260403T145944
CREATED:20180223T194708Z
LAST-MODIFIED:20180223T194708Z
UID:605-1519894800-1519927200@lukeolsenphotography.com
SUMMARY:Alan Wieder at ProPhotoSupply Lab/Annex
DESCRIPTION:Alan Wieder\, Portraits: Rafael Trejo Boxing Gym — Havana \nMarch 1 – March 31 \nProPhotoSupply Lab/Annex\n1815 NW Northrup St\, Portland\, OR 97209\n503-517-3639\nM-F 9-6\nSat. 9-5 \nThe photographs from Rafael Trejo Boxing Gym are part of my ongoing series of Cuban photographs. Most of the images\, but not all\, focus on the eyes of the various boxers and their coach. These photographs correspond to others that were taken on the streets of Havana & Vinales. In April I will continue the series in the eastern city of Santiago de Cuba.
URL:https://lukeolsenphotography.com/event/alan-wieder-prophotosupply-lab-annex/
LOCATION:Pro Photo Supply – LabAnnex\, 1815 NW Northrup St.\, Portland\, OR\, 97209\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180225T193000
DTEND;TZID=America/Los_Angeles:20180225T193000
DTSTAMP:20260403T145944
CREATED:20180206T082818Z
LAST-MODIFIED:20180206T082818Z
UID:566-1519587000-1519587000@lukeolsenphotography.com
SUMMARY:Destruction Dance at Blue Sky Gallery
DESCRIPTION:All good things must come to an end\, and\, as mandated by Robert Frank and Gerhard Steidl\, this exhibition must be destroyed.  \nJoin us for the performative dance destruction of the exhibition featuring dancers Lu Yim\, Mike Barber\, Subashini Ganesan\, Pepper Pepper\, Meshi Chavez\, and Linda Austin. \nDancers will sometimes be performing simultaneously in various areas of the gallery. Tickets can be purchased here.  \nSuggested donation of $15\, no one turned away for lack of funds\, but you must pre-register!  Email Amanda at rsvp@blueskygallery.org if you would like to pay a different rate. This event will likely sell out.
URL:https://lukeolsenphotography.com/event/destruction-dance-blue-sky-gallery/
LOCATION:Blue Sky Gallery\, 122 NW 8th Avenue\, Portland\, OR\, 97209\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180224T170000
DTEND;TZID=America/Los_Angeles:20180224T200000
DTSTAMP:20260403T145944
CREATED:20180222T074109Z
LAST-MODIFIED:20180222T074109Z
UID:598-1519491600-1519502400@lukeolsenphotography.com
SUMMARY:Sarah Graves at Blue Moon Camera and Machine
DESCRIPTION:Sarah Graves\, The Honeymoon Series \nFebruary 12\, 2018 – March 15th 2018.\nReception: Saturday\, February 24th from 5-8pm \nBlue Moon Camera and Machine\n8417 N Lombard Street Portland\, OR 97203\n503-978-0333\nM-F 9-6\, Sat. 9-5\, closed Sundays.\nsales@bluemooncamera.com\nwww.bluemooncamera.com \nSarah Graves will be showing her new series of photographic work at Blue Moon Camera and Machine beginning on February 12th. Join us at the opening reception to celebrate Sarah\, admire her incredible handmade darkroom prints\, and\, of course\, take part in the usual shenanigans. \n“Reflecting on this past years’ work I find myself trying to remember the high points\, as it is all too easy to recount the low ones. On a high note- I got married last year! I’ve been photographing my partner for years and these photographs are part of the most current series I’ve been working on called the Honeymoon Series. The series documents our life as we grow together and includes portraits\, places we’ve traveled and some moments in between. Through this series I hope to prolong the honeymoon. All photographs were made on film and are silver gelatin prints made in my home basement darkroom.” \nwww.sarahtaft.com
URL:https://lukeolsenphotography.com/event/sarah-graves-blue-moon-camera-machine/
LOCATION:Blue Moon Camera and Machine\, 8417 N Lombard St\, Portland\, OR\, 97203\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180223T180000
DTEND;TZID=America/Los_Angeles:20180223T200000
DTSTAMP:20260403T145944
CREATED:20180206T221443Z
LAST-MODIFIED:20180206T221443Z
UID:568-1519408800-1519416000@lukeolsenphotography.com
SUMMARY:"In a Different Light" Group Show at Maude Kerns Art Center in Eugene
DESCRIPTION:In A Different LightRich Bergeman\, Phil Coleman\, Sandi O’Brien\, Jack Larson\, Paul Barden \nFebruary 23 – March 23\, 2018Opening reception: Friday\, February 23\, 6-8 pmArtists’ Panel Discussion: Thursday\, March 8\, 6-7:30 pm \nMaude Kerns Art Center1910 E. 15th Ave.Eugene\, Ore. 97403(541) 345-1571www.mkartcenter.orgHours: Tues-Fri\, 10 am – 5:30 pm; Sat\, 12 – 4 pm \nFive Willamette Valley photographers will show recent infrared images in and exhibit titled “In a Different Light.” The exhibit takes its name from the fact that infrared photography sees the world in a way that is not visible to the naked eye. Infrared light lies just above the visible spectrum\, between 700 and 900 nanometers (nm) in wave length\, whereas the human eye is sensitive from about 400nm (blue) to about 700nm (red). But even though the higher infrared range doesn’t register with our eyes\, it can be recorded with special black-and-white films and with converted digital imaging sensors. Examples of both techniques are represented in the show. \n“The world of infrared is quite different from what we’re used to seeing\,” said Rich Bergeman\, who brought the photographers together for the exhibit. “It can create surreal\, dream-like images\, while in other cases it produces a more subtle shift in tones.” \nIn the natural landscape\, most organic objects\, especially plants\, reflect more infrared light than do inorganic things like water\, rocks and the sky. In black-and-white IR photography\, this usually results in dramatic skies and snowy-looking landscapes. In color infra-red photographs\, blues often dominate\, and the effects are even more pronounced where ever sunlight strikes.Each of the photographers in the show has decades of experience with various forms of photography. Some began exploring infrared in the past decade after converting digital cameras to record IR light\, while others have been using black-and-white infrared film for many years. \nThe photographers will talk about their work at a panel discussion on Thursday March 8 from 6-7:30 pm in the arts center.
URL:https://lukeolsenphotography.com/event/different-light-group-show-maude-kerns-art-center-eugene/
LOCATION:Maude Kerns Art Center\, 1910 E. 15th Ave.\, Eugene\, OR\, 97403\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180221T120000
DTEND;TZID=America/Los_Angeles:20180221T130000
DTSTAMP:20260403T145944
CREATED:20180212T181726Z
LAST-MODIFIED:20180212T181726Z
UID:582-1519214400-1519218000@lukeolsenphotography.com
SUMMARY:William Anthony\, "Time Slip" Dragster Series: A Return to Analog
DESCRIPTION:Portland Art Museum Photography Council’s\nBrown Bag Lunch Talk Series \nWednesday\, February 21\, 2018 at Noon \nPortland Art Museum\nMiller Gallery in the Mark building\n1219 SW Park Avenue\, Portland\, OR 97205\nwww.portlandartmuseum.org\n503 226 2811\nCost: Free to the public. \nEvery Wednesday night during the summer\, Portland International Raceway hosts E.T. (or “Elapsed Time”) drag racing of NHRA (National Hot Rod Association) dragsters. From under-18 junior-class racers to tricked out top alcohol-burning supercars\, locals from the Portland/Vancouver area congregate to race not so much against each other\, but against time. And in this crucible fueled by a rich mix of gasoline and adrenaline\, Time Slip was born. \nShot entirely with three film cameras and two film stocks\, commercial and editorial photographer William Anthony sought to highlight this unique\, passionate community that has been pursuing the checkered flag for over 40 years. The community remains unchanged\, the recent threats of encroaching development and gentrification put this unique pastime at risk. A fun side project soon became an all-consuming\, weekly addiction and honed William’s photography skills\, reconnecting him to the fundamentals learned decades earlier with vintage\, all-manual cameras and the traditional dark room. \nWilliam Anthony is an award-winning commercial and editorial photographer based in Portland. A former advertising art director\, William’s work strives to honor the deeper stories and concepts he shoots both for himself and while on commission. For the past 13 years\, his career has spanned genres such as advertising\, photojournalism\, portraiture/lifestyle\, travel and social media. While proficient in all new digital technologies\, his skillset is deeply rooted in the fundamentals of analog film photography. \nWilliam has shot for clients such as Alaska Airlines\, BMW Motorcycles\, Microsoft\, Nike\, The North Face\, and Starbucks. \nWilliam lives with his wife in NE Portland and works full-time as servant for two cats he’d much prefer were dogs. When not shooting pictures for a living\, he likes to spend his spare time shooting more pictures. \nAbout the Brown Bag Lunch Talks \nThe Brown Bag Lecture Talk series is a presentation of the Portland Art Museum’s Photography Council and is generously sponsored by Pro Photo Supply. \nAbout the Photography Council \nThe Portland Art Museum Photography Council offers its members unique opportunities to learn more about the history of photography with Julia Dolan\, Ph.D.\, the Museum’s Minor White Curator of Photography. Council membership dues support the acquisition of photographs for the permanent collection. The members’ annual print share meeting\, private tours with Dr. Dolan\, an annual art acquisition meeting\, and special invitations to lectures by renowned photographers are just some of the benefits of Council membership. \nThe Portland Art Museum Photography Council’s Brown Lunch Talk series\, conceived in 2009 by Past Council President Jim Leisy as a means of introducing the Portland photography community to the wealth of talent and creative energy in our region\, has become one of the Council’s most popular public events. Since its inception\, the BBLT has offered over sixty monthly presentations by regional and visiting photographer/artists that are free and open to everyone interested in photographic arts and process. \n 
URL:https://lukeolsenphotography.com/event/william-anthony-time-slip-dragster-series-return-analog/
LOCATION:Portland Art Museum\, 1219 SW Park Avenue\, Portland\, OR\, 97205\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180218T140000
DTEND;TZID=America/Los_Angeles:20180218T160000
DTSTAMP:20260403T145944
CREATED:20180212T183356Z
LAST-MODIFIED:20180212T183356Z
UID:584-1518962400-1518969600@lukeolsenphotography.com
SUMMARY:“Clatsop County” group show in Dundee
DESCRIPTION:Clatsop County\nRoger Dorband\, Ken Hochfeld\, Michael Granger\nPresented by LightBox Photographic Gallery \nJan 15 – March 4\, 2018\nArtist Reception\, Sunday\, February 18\, 2:00-4:00 \nArgyle Tasting House\n691 Highway 99W\nDundee\, Oregon\n503 538-8520 \nplease rsvp to argyle winery at this address if you plan to attend?\nhttps://www.eventbrite.com/e/artist-reception-clatsop-county-registration-42797529563 \nLightBox Photographic Gallery of Astoria presents the work of three photographers who envision the nature of Clatsop County from their unique viewpoint. \nClatsop County is the heart of Oregon’s North Coast. It is a history ladened land that in 1805 became the terminus of Lewis and Clark’s Expedition of Discovery. Six years later\, Astoria\, the county seat of Clatsop County\, became the first U.S. settlement on the Pacific Coast. While its early history is not forgotten it is the climate and the geography that mostly define the special nature of Clatsop County. For photographers working in the area\, the landscape\, the weather and historical elements frequently merge in the fabric of a single image. This might be said of photographs from  anywhere in the country that are taken outside of an urban setting. But when the subject matter includes the beautiful Pacific\, the 4th largest river in the U.S.\, the Great Northwest Rain Forest\, ships in the harbor\, volatile weather conditions\, fog and constantly changing light over the river\, there is increased potential for images rich in beauty\, drama and diversity. \nRoger Dorband\nAstoria\, Oregon \nRoger Dorband is best known for his color landscape books on the Rogue River and Steens Mountain\, the Astoria resident considers himself a “witness” who looks for iconic images that capture the essence of a place. \n“As a photographer my most important bodies of work are series that depict a particular place.  Most notably I have published books on northwest Portland’s Thurman Street\, southern Oregon’s Rogue River and the Steen Mountain area of Malheur County.  Though I consider myself a “photographer of place”\, the landscape has often been central to my work.  When I moved to Astoria ten years ago the big open skies and changeable weather over the Columbia\, and the Pacific beaches inspired me. But before I began getting images I really liked I had to get the usual Astoria photographic subjects out of my system.  So naturally I took the requisite photos of the Megler Bridge\, sunset skies\, the Peter Iredale shipwreck and the sea lions\, none of which rose above many similar photographs I saw of those subjects by other photographers. \nOver time I have studied the history and culture of the North Coast beginning with Washington Irving’s classic book on the founding of Astoria.  What I learned is that the North Coast\, and Astoria in particular\, has been through numerous peaks and valleys in prosperity\, has suffered through catastrophes of fire and wind\, and\, if one looks back far enough\, epic disasters caused by major earthquakes.  In spite of claims made about the beautiful landscape of the North Coast\, the natural resources of the area have been largely exploited as reflected in numerous clear cuts and the absence of old growth trees as well as an extremely depleted fishing industry.  Not that there are no hopeful signs but to me the area is at best one in recovery. \nI believe that seeing the North Coast as I do has brought a deepening to my imagery that includes some sense of loss and perhaps a little of the loneliness one feels next to the immensity of the Pacific.  Paradoxically there is a sense of hope and endurance here too\, perhaps engendered by the history and culture of the area\, which I trust will allow viewers to apprehend the North Coast’s enduring beauty.” ~ Roger Dorband – Raven Studios \nKen Hochfeld\nPortland\, Or. \nKen Hochfeld is a Portland based fine art photographer who sees expressive beauty in the landscape.  Originally from California\, where he graduated with a degree in photo communications from California State University at Fullerton\, he and his wife Carol have lived in Oregon for 40 years.  He finds the natural beauty and lifestyle of the Pacific Northwest emotionally sustaining. \nHochfeld’s toned black and white photographs may reflect upon the scene before him\, but more often are subtly contemplative and sometimes offer clues to his emotions or thoughts.  He typically chooses to make photographs in quiet places that are not typical iconic scenic locations.  Hochfeld says “Occasionally a dramatic scene simply calls on me to make a photograph and I oblige.”  With his most current work\, “Communities of the Lower Columbia River”\, Hochfeld explores human interaction with the landscape.  His photography has been exhibited in various galleries in Oregon\, California\, Colorado\, Texas\, Utah\, Vermont and Washington. \nMichael Granger\nAstoria\, Oregon \nMichael Granger and his wife\, Chelsea Vincent Granger\, opened LightBox Photographic Gallery in Astoria in June 2009 with the mission to promote creative and alternative photography on the North Coast of Oregon. LightBox exhibits work of photographic artists in juried\, group and solo exhibits. With over 100 exhibits behind them\, LightBox Photographic strives to educate the public about fine art photography\, the varied processes and the unique vision of each photographic artist. Having had a career in fine custom photographic printing\, Michael’s interests concentrate on imagery that speaks to the viewer and the quality of the final photographic print in all mediums. \nHe practices the art of image making and celebrates those that make it to print.
URL:https://lukeolsenphotography.com/event/clatsop-county-group-show-dundee/
LOCATION:Argyle Tasting House\, 691 Highway 99W\, Dundee\, OR\, 97115\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180218T123000
DTEND;TZID=America/Los_Angeles:20180218T153000
DTSTAMP:20260403T145944
CREATED:20180124T180918Z
LAST-MODIFIED:20180124T180918Z
UID:504-1518957000-1518967800@lukeolsenphotography.com
SUMMARY:Youth Darkroom Class with Bobby Abrahamson at University of Portland
DESCRIPTION:Dates:  Feb. 18 – Mar. 18\, 12:30 – 3:30 PM\, Five Sundays \nSaturday Academy\, classes held at University of Portland  Instructor:  Bobby Abrahamson  bobbyabrahamson.com \n Open for students grades:  8-12  Tuition:  $185 To register: https://www.saturdayacademy.org/catalog/photography-art-darkroom \n For questions contact: Mary Wisneski 503-200-5852 mary@saturdayacademy.org  \nWill you be the next Ansel Adams or Dorthea Lange? Experience the magic of black and white photography from start to finish: shoot the image\, develop the negative and print your photograph. Learn composition and lighting techniques for creating a good negative. Explore camera basics including f-stop\, shutter speed and exposure. See your surroundings through a photographer’s keen eye during walking field trips as you develop your individual style. In the darkroom\, learn how to develop negatives and make prints\, experiment with exposure\, contrast\, filters and paper. Explore the many different effects that can be achieved with a single negative. Choose your best photographs to develop into prints for your portfolio or for display. \n 
URL:https://lukeolsenphotography.com/event/youth-darkroom-class-bobby-abrahamson-university-portland/
LOCATION:University of Portland\, 5000 N Willamette Boulevard\, Portland\, OR\, 97203\, United States
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20180217
DTEND;VALUE=DATE:20180218
DTSTAMP:20260403T145944
CREATED:20180124T180146Z
LAST-MODIFIED:20180124T180146Z
UID:498-1518825600-1518911999@lukeolsenphotography.com
SUMMARY:The Project Salon workshop with Charles Purvis at MICX Studio
DESCRIPTION:February 17 through July 28\, 2018   MICX Studio 6635 N Baltimore Ave Portland\, OR 97203 971-901-7200   12 weeks for $450 For information: https://micxstudio.com/project-salon/  \nThe Project Salon provides a space\, time\, and process for the purpose of creating a body of work (be it an exhibition\, book\, or portfolio) over a extended period of time and with the support of other photographers doing the same.   To really progress as photographers and artists we need to go deep and we need to go deep over an extended period of time. We also need the reflection and support of others who share our passion and commitment to the medium. We learn by doing and we learn by understanding how others experience our work; and in committing to work with others we find a new level of commitment to our own work.   The Project Salon meets for 12 sessions over a 6-month period\, twice a month for 3-4 hours. Participants\, having committed to a project\, present their ongoing work to the group and receive and offer constructive reflection concerning subject\, narrative\, editing\, final form and the general arc and feel of the work. The last 2 weeks focus on editing\, collating\, and final form presentations. The sessions are facilitated by Charles Purvis who offers individual mentoring and support\, both technical and artistic\, for each participant. We also study the work of other photographers as it pertains to our work and process. The Salon is limited to 8 participants. All photographic mediums are welcome.  
URL:https://lukeolsenphotography.com/event/project-salon-workshop-charles-purvis-micx-studio/
LOCATION:MICX Studio\, 6635 N Baltimore Ave\, Portland\, OR\, 97203\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180215T170000
DTEND;TZID=America/Los_Angeles:20180215T183000
DTSTAMP:20260403T145944
CREATED:20180206T080841Z
LAST-MODIFIED:20180206T081205Z
UID:562-1518714000-1518719400@lukeolsenphotography.com
SUMMARY:Michael S. Thompson\, Dynamic Rhythms in Northwest Landscapes
DESCRIPTION:February 15th – July 2nd\, 2018Opening reception: February 15th\, 2018 5:00 – 6:30 pm \nUniversity of Oregon School of LawKnight Law Center2nd floor gallery1515 Agate St.\, Eugene\, Ore.\, 97403Opening 9am – 5pm daily \nThompson’s fascination with the intersection of the natural and built landscapes is highlighted in “Dynamic Rhythms in Northwest Landscapes\,” which includes 31 color photographs from 1981 to 2016.
URL:https://lukeolsenphotography.com/event/michael-s-thompson-dynamic-rhythms-northwest-landscapes/
LOCATION:University of Oregon School of Law\, 1515 Agate St.\, Eugene\, OR\, 97403\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180213T183000
DTEND;TZID=America/Los_Angeles:20180213T210000
DTSTAMP:20260403T145944
CREATED:20180117T010107Z
LAST-MODIFIED:20180117T010107Z
UID:493-1518546600-1518555600@lukeolsenphotography.com
SUMMARY:Alexis Cuarezma\, Awaken Your Creative Vision
DESCRIPTION:Awaken Your Creative Vision with five time Portrait Photographer of the Year\, Alexis Cuarezma. \nFrom Little League to photographing some the best athletes in the world\, go inside a portrait session with Alexis and see what is essential to create images with impact and emotion during an assignment. Learn how to quickly connect with your subject to have a harmonious relationship during the shoot\, and how a career that began in a little league baseball field turned into shooting six covers for Sports Illustrated. \nHe will show you results\, including an entire 30 second photo shoot with a world class athlete\, and how he simultaneously executed two separate lighting setups during an assignment for Sports Illustrated to give the editors what they wanted\, while still creating images for himself. \nNEVER SETTLE FOR JUST ENOUGH WITH YOUR VISION. \nFrom this lecture\, you’ll walk away learning Alexis’ approach to creating/lighting images with impact\, connecting with your subject\, and how Alexis plans and executes a photo shoot to make his vision a reality.
URL:https://lukeolsenphotography.com/event/alexis-cuarezma-awaken-creative-vision/
LOCATION:Pro Photo Supply – Event Space\, 1801 NW Northrup St\, Portland\, OR\, 97209\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180210T180000
DTEND;TZID=America/Los_Angeles:20180210T210000
DTSTAMP:20260403T145944
CREATED:20180130T075636Z
LAST-MODIFIED:20180130T075636Z
UID:512-1518285600-1518296400@lukeolsenphotography.com
SUMMARY:The Photographic Nude 2018
DESCRIPTION:February 10th – March 7th\, 2018Opening and Artists’ Reception: Saturday\, February 10\, 6-9pm \nLightBox Photographic Gallery opens “The Photographic Nude 2018” with an opening artists’ reception on Saturday\, February 10th from 6-9 p.m. This is the eighth year of the annual international juried exhibit\, a collection of photographic prints exploring the artistic and creative view of the body and its form\, dedicated to the creative spirit of photographer Ruth Bernhard.  \nCongratulations to the artists exhibiting in The Photographic Nude 2018 Andi Schreiber • Carol Dass • Da’Rrell Privott • David Dennard • Espen AaroeDiana Nicholette Jeon • Donald A. MacDonald • Felix Martin • Francis Crisafio Ekaterina Kiryanova • George Johnson • Heather Oelklaus • Jim Washington J.P. Terlizzi • Laura Kurtenbach • Lauryn Hare • James Lucas • Malcolm Lobban Marcie Rich • Matthew Finley • Matt Storm • Michael Quinn • Michael Puff Nickolas Hurlbut • Nina Weinberg Doran • Patrick Whitaker • Paul Cunningham Paul B. Goode • Saelon Renkes • Robert Dutruch • Ruth Dudley Carr Terry Johnson • Thomas Zamolo • Trey Squire • Steve Lease • Vienne Rea László Gálos & Zoltán Vadászi LightBox Photographic Gallery established “The Photographic Nude“ series to reveal compelling imagery and the mastery of the medium. The hope was to foster an appreciation of the nude in the medium of photography and to gain an understanding of the theme historically in the photographic art form as well as to bring recognition to the current photographers who practice their art with the theme of the nude. With a total of 50 images selected for the exhibit from 38 photographers\, the show represents many of the very talented practitioners of the photographic fine art nude from around the world. \nThis year’s exhibit was juried by Christa Blackwood of Austin\, Texas. Christa Blackwood is an acclaimed photo-based artist whose photographs of male nudes reference identity\, photographic/art history and popular culture. Her works employ multiple techniques and methods — fusing traditional\, historical and alternative methods with contemporary ideas and practices. She has been featured in The New York Times\, Art Desk Magazine\, The Village Voice and The Chicago Sun Times and her work has been exhibited in galleries and museums throughout the U.S. and abroad.   \nFor the exhibit Christa Blackwood was interested in seeing nudes presented in unique and meaningful ways\, i.e.\, nudes that meld photographic technique with ideas and surprise. \nAgain this year all accepted images to The Photographic Nude 2018 exhibit will be published in the upcoming Spring edition of Blur magazine\, www.blur-magazine.com\, an online PDF magazine promoting international fine art photography\, located in Zagreb\, Croatia. \nThe exhibit runs from February 10th  through March 7th 2018. Visit http://lightbox-photographic.com/shows/  for complete exhibit and artists info. LightBox offers associate memberships as a way of becoming part of the community of supporters that help to further the mission of the gallery. LightBox provides photographic printing and archival framing\, restorations and other photographic services. LightBox is located at 1045 Marine Drive in Astoria\, hours are Tuesday – Saturday 11 – 5:30. Contact LightBox at 503-468-0238 or at info@lightbox-photographic.com\, and visit lightbox-photographic.com for more info and to enjoy past\, current and upcoming exhibits. \n 
URL:https://lukeolsenphotography.com/event/photographic-nude-2018/
LOCATION:LightBox Photographic Gallery\, 1045 Marine Dr.\, Astoria\, OR\, 97103\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180203T090000
DTEND;TZID=America/Los_Angeles:20180203T160000
DTSTAMP:20260403T145944
CREATED:20180124T180348Z
LAST-MODIFIED:20180124T180443Z
UID:501-1517648400-1517673600@lukeolsenphotography.com
SUMMARY:Chris Ogden\, Stones Echo - Visual Poems Written On Quarry Walls
DESCRIPTION:February 3rd – March 2nd\, 2018 \nCamerawork Gallery is proud to present the gallery debut of a ten-year project by noted North Carolinian professional artist Chris Ogden. These fine art photographs weave together a trinity of predominant themes played out on the theater of dimensional stone quarry walls: Mystery\, time\, and elemental cyclical changes. \n Ogden notes\, “In the days when stone flowed like water\, time didn’t mean the same thing as it does to us today. Granite\, marble\, travertine\, sandstone\, slate\, basalt . . . these are the children of Kronos. When miners reached under the ribs of the Earth to pull out its still-beating heart and make the Pyramids\, Chartres Cathedral\, the First National Bank\, or a Washington\, D.C.\, they opened a window into the Earth’s crust. Behind such a scrim\, the oldest gods play out their dramas as through an eerily familiar fog. \n “Make no mistake: here too is the hand of man. Yet despite signs of old explosions\, rust\, cuts\, meltings\, tailings\, and drill holes\, Nature remains imperturbable—not serene\, but equanimous\, even generous. She invites meditation. \n “Which is more real\, the reflection of rock\, or the rock? Such questions grew in me during my adolescence\, whether leaping into the swimming hole of an abandoned quarry with the sounds of high school joys and angsts echoing off the walls\, trying to name all the colors of the Grand Canyon—where I bought my first piece of petrified wood for thirty-five cents and decades later kayaked below its towering walls that map histories beyond our comprehension— or craning my head upward from the raging flume’s edge of Franconia Notch to the gorge’s metaphorical and contradictory tableaux. \n “Earth\, I came to realize\, doesn’t mind our anthropomorphic voyeurism. In the stone\, born before human DNA\, we see multiple layers\, histories\, titillations\, the sensuality of the half-understood. We see frozen violence—something taboo\, as if we had walked in on a patient. As a photographer\, I feel the awe of the surgeon. \n “As Native Americans thanked their prey for giving themselves in the hunt\, so we must turn here to a generous landscape to say\, “We honor you\, we thank you.” I hope you’ll find these photos both evocative and provocative. I invite you to view each as a stepping stone backward and forward into time\, expanding outward across the universe and inward into our existential component parts\, both tangible and not. In another billion years\, what will this planet look like?”
URL:https://lukeolsenphotography.com/event/chris-ogden-stones-echo-visual-poems-written-quarry-walls/
LOCATION:Camerawork Gallery\, 301 N. Graham Street\, Portland\, OR\, 97227\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180202T083000
DTEND;TZID=America/Los_Angeles:20180202T170000
DTSTAMP:20260403T145944
CREATED:20180117T004351Z
LAST-MODIFIED:20180117T004559Z
UID:489-1517560200-1517590800@lukeolsenphotography.com
SUMMARY:Angelica Dass\, HUMANÆ - Work In Progress
DESCRIPTION:OPEN/CLOSE: February 2\, 2018 –March 26th\, 2018 \nPushdot Studio is honored to be working in conjunction with Angelica Dass to bring her internationally acclaimed project\, Humanae- Work in Progress to the West Coast of the United States for the first time. We believe the artist’s vision presents a unique reflection on race\, it’s definition and it’s impact on our social dialogue. We invite you to view this powerful exhibit and participate in the conversation surrounding this highly charged topic. \nHumanæ is a “work in progress” by the Brazilian Angélica Dass\, who intends to deploy a chromatic range of the different human skin colors. Those who pose are volunteers who have known the project and decide to participate. There is no previous selection of participants and there are no classifications relating to nationality\, gender\, age\, race\, social class or religion. Nor is there an explicit intention to finish it on a specific date. It is open in all senses and it will include all those who want to be part of this colossal global mosaic. The only limit would be reached by completing all of the world’s population. \nHowever\, this taxonomy close to Borges´ world\, adopts the format of the PANTONE ® guides\, which gives the collection a degree of hierarchical horizontality that dilutes the false preeminence of some races over others based on skin color or social condition. \nThese guidelines have become one of the main systems of color classification\, which are represented by means of an alphanumeric code\, allowing to recreate them accurately in any medium: is a technical-industrial standard. The process followed in Humanæ also is rigorous and systematic: the background for each portrait is tinted with a color tone identical to a sample of 11 x 11 pixels taken from the face of the photographed. Aligned as in the famous samples\, its horizontality is not only formal also is ethical. \nThus\, without fuss\, with the extraordinary simplicity of this semantic metaphor\, the artist makes an “innocent” displacement of the socio-political context of the racial problem to a safe medium\, the guides\, where the primary colors have exactly the same importance that the mixed ones. It even dilutes the figure of power that usually the photographer holds. The use of codes and visual materials belonging to the imagery that we all share\, leaves in the background the self-referentiality of the artist\, insistent and often tiresome. \nMany of the ingredients that characterize the [best] spirit of this time appear to be part of this project: shared authorship\, active solidarity and local proposals likely to operate globally\, networking\, communication expanded to alternative spaces of debate\, awareness without political ideology\, social horizontality… The spectator is invited to press the share button in his brain. \nAt present\, more than 3700 images exist in the project. They have been taken to 28cities\, in 18 different countries: Madrid\, Barcelona\, Getxo\, Bilbao\, and Valencia\, Paris\, Bergen\, Winterthur\, Chaisso (Switzerland)\, Groningen\, The Hague (Netherlands)\, Dublin\, London\, Tyumen (Russia)\, Gibellina\, and Vita (Italy)\, Vancouver (Canada)\, Pittsburgh\, and Chicago (USA)\, Quito (Ecuador)\, Calparaiso (Chile)\, Sao Paulo and Rio de Janeiro (Brazil)\, Cordoba (Argentina)\, New Delhi (India)\, Daegu (South Korea)\, Addis Abeba (Ethiopia)\, Chiasso (Switzerland). \nAngélica Dass is a Spanish-Brazilian artist based in Madrid. She has received international acclaim through her pivotal project\, Humanæ\, which is a collection of photography portraits of people revealing the true beauty of human skin color. This project has been shown in numerous exhibitions and talks across the continents\, and through her TED Global talk in Vancouver in 2016\, her main concerns and the philosophies of the project have reached a great numbers of audiences around the world. Dass holds a BA in Fine Arts from the Universidade Federal do Rio de Janeiro (UFRJ\, Brazil) and a MA in Photography from EFTI (Spain). In 2014 she was selected by TIME Magazine as one of the “Nine Brazilian Photographers You Need to Follow”.
URL:https://lukeolsenphotography.com/event/angelica-dass-humanae-work-progress/
LOCATION:Pushdot Studio\, 2505 SE 11th Avenue\, Portland\, OR\, 97202\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180127T120000
DTEND;TZID=America/Los_Angeles:20180127T170000
DTSTAMP:20260403T145944
CREATED:20180124T222357Z
LAST-MODIFIED:20180124T222705Z
UID:507-1517054400-1517072400@lukeolsenphotography.com
SUMMARY:Melanie Flood at Fourteen30 Contemporary
DESCRIPTION:Melanie Flood at Fourteen30 Contemporary \nNow through March 3rd\, 2018 \nFourteen30 Contemporary is pleased to present Mirror Mirror\, an exhibition of new work by Portland\, OR-based photographer Melanie Flood. This will be Flood’s first solo exhibition at the gallery. \nAligned with contemporary conceptual photographers such as Anne Collier\, Annette Kelm\, Sara VanDerBeek\, and Eileen Quinlan\, Flood’s practice brings together two potentially opposing areas of exploration. Maintaining a cool and formal distance\, her work employs the tools of still-life and commercial photography\, while examining modern femininity and the female body. Ultimately\, this examination turns intimate\, conjuring Flood’s personal experiences and relationships. \nLike Kelm\, Flood’s jumping off point is the blank\, seamless backdrop and platform of the commercial photographer. This pristine netherworld is Flood’s picture plane\, host to an assortment of disparate objects\, meticulously arranged into coy and performative sculptural forms. These sculptures are ephemeral\, constructed solely to be the object of the camera’s gaze\, eternally constrained to two dimensions. Though the chosen materials are often cheap and flimsy relics of pop culture and mass consumerism (pantyhose\, ThighMaster\, toilet brush holder)\, they are easily transformed into sensuous\, refined reflections of the feminine experience through perfect lighting and the simple act of being photographed. \nThis transformation\, from humble to slick and polished\, mirrors the (perhaps unrealized\, perhaps unattainable) fantasies and expectations of many little girls waiting to grow up. As the artist herself says: “I look in the mirror and wait to see myself as I thought a woman should look—poised\, tucked\, upright. My work is the space where that desire is obtained. I tuck\, pleat\, fold\, stuff\, balance\, refine the materials into evocative gestures.” The seductive tactility of these tawdry and suggestive materials reveals tensions between domesticity and power\, femininity and ambition\, finally revealing familiar stories of body discomfort\, physical humor\, and self-intimacy.
URL:https://lukeolsenphotography.com/event/melanie-flood-fourteen30-contemporary/
LOCATION:Fourteen30 Contemporary\, 1501 SW Market Street\, Portland\, OR\, 97201\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180117T120000
DTEND;TZID=America/Los_Angeles:20180117T130000
DTSTAMP:20260403T145944
CREATED:20180113T183031Z
LAST-MODIFIED:20180113T183031Z
UID:485-1516190400-1516194000@lukeolsenphotography.com
SUMMARY:Leslie Hickey\, It's beautiful here\, isn't it?
DESCRIPTION:Portland Art Museum Photography Council’sBrown Bag Lunch Talk Series \nLeslie Hickey was recently a fellow at The Civita Institute in Civita di Bagnoregio\, Italy. Born in Portland in 1983\, she first went to Italy at 20\, and has since returned four times with an additional trip planned for May 2018. She will speak about how her photographic approach is shaped by the people\, places\, and books she encounters in Italy and further describe the strange situations\, and surprises\, that can occur when one has a tenuous grasp on the language and culture of a place. \nLeslie is a founding member of Small Talk Collective based in Portland and also SCALENO\, an international collective with members residing in Portland\, Lima\, and Berlin. Outside of film photography\, she is also the proprietor of Hoarfrost Press\, an occasional letterpress operation.www.lesliehickey.comwww.hoarfrostpress.com \n 
URL:https://lukeolsenphotography.com/event/leslie-hickey-beautiful-isnt/
LOCATION:Portland Art Museum\, 1219 SW Park Avenue\, Portland\, OR\, 97205\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180113T150000
DTEND;TZID=America/Los_Angeles:20180113T180000
DTSTAMP:20260403T145944
CREATED:20180104T231613Z
LAST-MODIFIED:20180113T182809Z
UID:481-1515855600-1515866400@lukeolsenphotography.com
SUMMARY:Walt O’Brien\, Recent landscape photography in platinum\, silver and pigment.
DESCRIPTION:Walt has been photographing since about 1957. The Junior High School he attended had a camera club with a darkroom. He studied photography at Brooks Institute of photography between 1969 and 1970. He has worked in the photo industry in camera shops\, portrait studios\, commercial studios and freelance work. \nHe owned two One-Hour/Custom Photo Labs from 1980 to 2002. \nHe currently operates a specialty photo lab and gallery and teaches private photo darkroom classes. He has been a member of PhotoZone Gallery since 1992 and has exhibited there and in other galleries to include Umpqua Valley Arts Association\, Umpqua Community College Gallery\, Jacobs Gallery\, Oregon Arts Alliance\, Emerald Art Center\, Maude Kerns Art Center\, the Center For Photographic Art in Carmel California and most recently at the University of Oregon Law Center. He taught photography at Umpqua Community College in Roseburg and Lane Community College. Walt also has a large body of Color\, B&W and alternative process work. Walt has been involved in a project to create photo books.
URL:https://lukeolsenphotography.com/event/walt-obrien-recent-landscape-photography-platinum-silver-pigment/
LOCATION:The O’Brien Photo Gallery\, 2833 Willamette\, Ste. B\, Eugene\, OR\, 97405\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180111T190000
DTEND;TZID=America/Los_Angeles:20180111T210000
DTSTAMP:20260403T145944
CREATED:20171222T000608Z
LAST-MODIFIED:20171222T000608Z
UID:473-1515697200-1515704400@lukeolsenphotography.com
SUMMARY:"The State of Photography in Portland" panel discussion at Disjecta Contemporary Art Center
DESCRIPTION:A five-question survey was sent out to 30+ figures in the Portland photography community – photographers\, gallerists\, non-profit organization staff\, curators\, teachers – asking opinions on the state of the photography “scene” here in Portland at this given moment. What came back to us was a diverse perspective of opinion that will become the foundation of a panel discussion on January 11th\, 2018. Some excerpts from the questionaire answers: The current photography scene here in town I believe is small\, yet growing and wanting to expand more into the community. I think there are few opportunities to see/and speak about photography and the current trends and conversations about photography. I would like us as a community to use more collective resources by joining forces in collaboration with academia\, and other local galleries. I feel like (the photography scene) is getting more fragmented or decentralized. Maybe the energy or excitement is waning since I first moved here 12 years ago.  Mostly I feel this way because of the closure of Newspace.  I imagine its also because I am getting older\, maybe not meeting as many new photographers\, and some of the ones I met when I first came here have now moved away. (The photography scene here is) fragmented\, with little support for fine art imagery purchasing by collectors. Photographers are friendly and most often help each other\, but there are a few highly competitive/smug personalities that intimidate some newcomers and don’t set the stage for easy event planning. Not enough great exhibits to view and be influenced by. Larger groups don’t appear to work seamlessly together. Wish there was a central calendar that lists ALL events\, classes\, shops\, etc.  We also don’t seem to have galleries or events that support local work. It would also be great to bring different photographers together with the common public such as they do with The Fence in Brooklyn.   I think we have a vibrant community\, yet we have a long way to go to match the spirit and risk-taking events that take place in other cities. We play it pretty safe here and I don’t think that stimulates people very much. Who is doing highly controversial work here? It is not seen or promoted very much.   We are provincial here. Few avenues to submit work and get recognized for it via shows or grant funds. I wish we could pair corporate funding with support of artists. Photography seems to have a side chair to other arts such as dance\, music\, painting.   I think that we are extremely fortunate to have a solid photography scene here.  The curator of photography at the PAM\, Julia Dolan\, is engaged with the local community\, we have Blue Sky/Oregon Center for the Photographic Arts which has several exhibition opportunities with the drawers program along with Nine Gallery\, as well as traditional photography galleries\, like Charles Hartman Fine art.   I think Portland gives a lot of focus on the arts.  Not much money. But a lot of interest.  Atlanta\, Houston\, etc. have a lot of wealthy folks who like to collect art\, donate money to institutions.  But it all seems to be selfserving — to get your name on a wing of the museum\, or under a photo in the museum.  Here people want to live with art — want to see it on the walls of buildings\, in public spaces — they want to buy affordable art for their middle-class homes.  I think this is changing\, as Portland becomes more affluent.  Maybe it’s become more like other big cities.  But having worked with Caldera\, Right Brain Institute\, P;ear\, Newspace\, and other nonprofits here I’ve been really amazed at how much folks want to get involved in experiencing art\, in particular photography.  And\, of course with revolution of digital photography\, and social media\, there is much more sharing and excitement about photography — with lots made and viewed by Portlanders. It would be great if all the institutions got together and agreed to hold photography shows\, including Disjecta\, PAM\, PNCA\, OCAC and all of the commercial galleries (PADA). I think this notion of participation might speak to  a larger issue – one of real estate.  How can we get all of the institutions together even though they are spread throughout the city?  PAM is only slightly separated from the gallery core\, PNCA is now located near the galleries\, but OCAC is pretty far out and Newspace is gone. Disjecta is fabulous\, but again\, it’s located pretty far outside of the city core.  Maybe starting a dialogue between all of the institutions to host events during the course of the month\, and perhaps bringing something to Portland on top of Photolucida\, which is only a few days\, to try and generate interest from a wider audience.   I think it is better to focus on developing a more comprehensive photography culture all year than focusing on one month out of the year (Portland Photo Month in April). If you want to stay with that concept\, then planning for it should be an ongoing process\, having a committee comprised of various pertinent people who develop events that capture the heart\, and not using the same old formula of having shows\, lectures\, classes. Think of other creative ideas (outdoor exhibits\, pop-up shows\, roving portrait studio\, more edgy classes\, organized group shoots such as PDX Squared\, etc.) to draw people away from getting their influence from online communities and visuals. I think it has to have a shot in the arm to get people behind having only one month of photo-focused events. My vote it so spend more time (less time boxed pressure) on programming all year around.   \nWhat benefits are we looking for as a community?  Newspace seemed to be the perfect fit for a community- based photography center where everyone benefited from the darkroom space to the classes to the lectures. Yet it went under because of lack of funding.  There is now a group trying to start a community darkroom by using a kickstarter type campaign\, but if Newspace was not sustainable\, how can that survive?  And really\, what is the goal of the “network” of photography?  Is it lectures?  Access to work space? Access to classrooms?  I feel like the word “network” is used a lot without actually defining the goal.  We should start with defining what the network serves and move forward from there. However\, if we presume that the network’s goal is a place for people to connect to photography\, should it include an international lecture series?  Should it include a workspace?  I guess I’m still stuck on what purpose the network would serve. More communication and synergy between groups (would be beneficial). I think an online website and comprehensive calendar would help. Tired of getting info from so many sources…I am starting to not open some of the emails because we are all bombarded with too many emails and solicitations. Newsletters are effective\, but if I knew i could send someone to one website to get a wealth of knowledge\, and out of town people could see this\, then it would bring the groups more together.    I’m uninterested collaborative efforts of any kind. When there are more cooks in the kitchen\, everything is less effective\, everything is compromised and bureaucratic. In order for something to be amazing and well directed\, it needs a fabulous\, visionary leader. Earned income is key (for an organization). Trying to get donations/grants/etc. is disheartening and there are so many strings attached it’s not worth it. I say\, chuck the focus on donor/grantor support and concentrate entirely on making earned income via rad programs the community loves. What would it look like to let go of the idea that “support” needs to come via donations and grants and gifts? It could be so freeing! Serve the community. Not the imagined community – the community that’s actually here. Who are those folks? What do they want? Here’s a key question arts nonprofits (or businesses of any kind) need to be asking: What is the community tired of\, what are they frustrated with\, what are their major problems? How can these problems be solved? That’s essential. That’s what people are willing to pay for. Support without exchange of goods or services is dead. Give people solutions to the problems they have. That’s how you get engagement and cash.   We have an incredible resource – the Regional Arts and Culture Council – that is a great resource for all of the arts.  Photography has become a very popular medium\, so it appears to garner a lot of attention\, and my opinion is that it receives an equal amount of attention as other media does. I think cost of living has been pushing artists out for a number of years now\, so there’s less vibrant\, new\, fresh programming being created here. 
URL:https://lukeolsenphotography.com/event/the-state-of-photography-in-portland-panel-discussion-at-disjecta-contemporary-art-center/
LOCATION:Disjecta Contemporary Art Center\, 8371 N. Interstate Ave.\, Portland\, OR\, 97217\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180105T180000
DTEND;TZID=America/Los_Angeles:20180105T200000
DTSTAMP:20260403T145944
CREATED:20171228T195516Z
LAST-MODIFIED:20171228T195516Z
UID:477-1515175200-1515182400@lukeolsenphotography.com
SUMMARY:Dorothy Glenn at Wolff Gallery
DESCRIPTION:Wolff Gallery presents Generous Mystery by Dorothy Glenn\, a series in which photography serves as a medium for self-exploration. Glenn turns the camera on herself\, creating in-camera multiple exposures in addition to more straightforward yet delightfully surreal imagery. Through these methods\, she embraces the experimentation\, change\, and uncertainty inherent to these processes that also mirror the demanding but generative work required for personal growth. www.dorothyglenn.com 
URL:https://lukeolsenphotography.com/event/dorothy-glenn-at-wolff-gallery/
LOCATION:Wolff Gallery\, 2804 SE Ankeny St.\, Portland\, OR\, 97214\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180104T180000
DTEND;TZID=America/Los_Angeles:20180104T200000
DTSTAMP:20260403T145944
CREATED:20171216T174957Z
LAST-MODIFIED:20171216T174957Z
UID:464-1515088800-1515096000@lukeolsenphotography.com
SUMMARY:Georgina Reskala at PDX CONTEMPORARY ART
DESCRIPTION:Georgina Reskala\, Residue of a Vision \nPDX CONTEMPORARY ART is delighted to introduce the newest addition to the gallery roster\, Georgina Reskala\, in “Residue of a Vision\,” her first solo exhibition with the gallery. The exhibition will feature new photographic prints on gelatin silver paper and linen. Born and raised in Mexico\, now living in Los Angeles\, Reskala had a fascination with the camera at an early age. She has developed this to become an accomplished and professional photographer. \n“What we understand as real is a construction of what our eye sees and what it comprehends. Reality is shaped by an ongoing construction of the merging of cultural experiences and our intake of visual information. \nMy work is a cumulative record of my perceptions and perspectives over time and space. I remove elements in order to point at the difference between what the eye sees and what it understands and each iteration has some truth and some fiction. It is a way to understand the meaning of seeing and perceiving. What happens in between is what interests me; that interstitial space which is the confirmation of the limits of our understanding. \nMy fascination with perception is both physiological and philosophical. When I photograph the ocean or the forest\, I copy and re-copy over and over and stripped the photographs of color\, texture\, form\, elements\,etc. It is a way to break down ideas and concepts; every rendition acquires new layers\, new meanings\, and it opens up to new interpretations.The photographs at the end are repetitions\, illustrations\, memories of reality\,  or just the residues of a vision.” \n– Georgina Reskala 2017
URL:https://lukeolsenphotography.com/event/georgina-reskala-at-pdx-contemporary-art/
LOCATION:PDX CONTEMPORARY ART\, 925 NW Flanders Street\, Portland\, OR\, 97209\, United States
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DTSTART;TZID=America/Los_Angeles:20180104T170000
DTEND;TZID=America/Los_Angeles:20180104T210000
DTSTAMP:20260403T145944
CREATED:20171221T083718Z
LAST-MODIFIED:20171221T083718Z
UID:471-1515085200-1515099600@lukeolsenphotography.com
SUMMARY:Robert Frank at Blue Sky Gallery
DESCRIPTION:Robert Frank is considered the inventor of street photography. With his method of sequencing and composing pictures in intuitive series beyond the traditional photographic essay\, he has developed new forms of expression within the medium of photography. \nDespite Frank’s significant influence on photographers of his own and subsequent generations\, there are only few exhibitions of his work. Frank’s original silver gelatin prints are today fragile objects\, and most are not on public display. Galleries\, museums\, and investors lend Frank originals only under limited conditions of display with exorbitant insurance costs\, which makes organizing traditional exhibitions very difficult. This traveling exhibition\, meant to be shown primarily at universities and schools\, seeks to remedy that. \nConceived by Robert Frank and Gerhard Steidl\, this exhibition shows Frank’s work in photos\, books\, and films in a direct\, accessible manner. Frank’s images are printed on sheets of newsprint and hung on the walls or from the ceiling. Frank’s films and videos\, which are so often overshadowed by his photographic work\, are shown on small portable “beamers” projecting them directly onto the walls. Finally\, the exhibition will be disposed of after display\, thus circumventing the normal cycle of speculation and consumption in the art market. When the idea for this pop-up show first reached Frank in his small\, crooked house in the Canadian village of Mabou\, he said: “Cheap\, quick\, and dirty\, that’s how I like it!” \nIn addition to the films in the exhibition\, the NW Film Center will be holding a film series of Robert Frank’s work during the month of January.   \nThis exhibition is printed by Steidl Verlag and made possible by the generous support of Steve Tisch\, the Steve Tisch Family Foundation\, and the Richard Ehrlich Family Foundation.
URL:https://lukeolsenphotography.com/event/robert-frank-at-blue-sky-gallery/
LOCATION:Blue Sky Gallery\, 122 NW 8th Avenue\, Portland\, OR\, 97209\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20171230T160000
DTEND;TZID=America/Los_Angeles:20171230T180000
DTSTAMP:20260403T145944
CREATED:20171219T233111Z
LAST-MODIFIED:20171219T233154Z
UID:468-1514649600-1514656800@lukeolsenphotography.com
SUMMARY:Hillary Atiyeh Clements at Camerawork Gallery
DESCRIPTION:Portland\, Oregon photographer Hillary Atiyeh Clements’ exhibit\, “Chaos Theory”\, is a new series of black and white double exposures. Atiyeh Clements notes\, “Chaos Theory is a branch of science based on the law of sensitive dependence on initial conditions. Rooted in quantum theory and relativity its main premise states that small changes in initial conditions can result in vast differences in the final outcome. This theory includes concepts such as Fractals\, the Butterfly Effect and the Fibonacci sequence. Nature finds a way and adapts to its environment in the simplest form even though the underlying system may seem complex.” Reaching back to her roots as a photographer Atiyeh Clements approached this series of  in-camera multiple exposures thinking about symbiotic relationships and looking for patterns in nature while enjoying the spontaneous and unpredictable outcome of this process.
URL:https://lukeolsenphotography.com/event/hillary-atiyeh-clements-at-camerawork-gallery/
LOCATION:Camerawork Gallery\, 301 N. Graham Street\, Portland\, OR\, 97227\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20171220T120000
DTEND;TZID=America/Los_Angeles:20171220T130000
DTSTAMP:20260403T145944
CREATED:20171216T172257Z
LAST-MODIFIED:20171216T172257Z
UID:461-1513771200-1513774800@lukeolsenphotography.com
SUMMARY:Bill Finger at the Portland Art Museum
DESCRIPTION:Portland Art Museum Photography Council’sBrown Bag Lunch Talk Series \nBill Finger’s imagery examines such topics as space exploration\, crime\, and the fallibility of memory. With each series he looks to the thin line between fiction\, reality\, and photography. To create an image\, he begins with the construction of a miniature diorama that is built specifically for the point of view of the camera lens. The basis for the dioramas comes from an entwining of specific personal memories with those of the fabricated spaces\, that he has worked on during a career as a motion picture assistant cameraman.  \nFor this Brown Bag discussion\, Bill Finger will be talking about the work that he has created\, as well as\, what brought him to embrace the miniature as subject. \nBill Finger is a Seattle based artist whose work combines sculpture and photography. Handcrafting each element\, he constructs and then photographs miniature dioramas. Each image is imbued with a sense of cinematic narrative that reflects twenty years working around film sets. By mimicking the filmmaking process\, he is able to create a miniature construction of a constructed reality. \nBill has exhibited his photographs in Europe\, the US and Canada. His work is included in the permanent collections of the George Eastman Museum of Photography and the Santa Barbara Museum of Art. He holds a MFA in Photography from the Rochester Institute of Technology. \nwww.billfinger.netBillFingerPhoto@gmail.com \n 
URL:https://lukeolsenphotography.com/event/bill-finger-at-the-portland-art-museum/
LOCATION:Portland Art Museum\, 1219 SW Park Avenue\, Portland\, OR\, 97205\, United States
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20171210
DTEND;VALUE=DATE:20171211
DTSTAMP:20260403T145944
CREATED:20171129T175744Z
LAST-MODIFIED:20171129T175838Z
UID:457-1512864000-1512950399@lukeolsenphotography.com
SUMMARY:Submission call for "Cascadia 2018"
DESCRIPTION:Submission call for “Cascadia 2018” deadline extended to Dec. 10 at midnight A Traveling Exhibit Open to Oregon Photographers funded by The Ford Family Foundation Visual Arts Grant \n Deadline for submission of up to 3 jpgs has been extended to Dec. 10 Notification of jurors’ results is Jan. 1\, 2018 Deadline for shipping accepted prints (unmatted/unframed) is Feb. 16\, 2018 Show opens in Baker City on April 6\, 2018\, then travels to The Dalles in May and to Corvallis in July.  \n Crossroads-Carnegie Art Center 2020 Auburn Ave. Baker City\, Oregon 97814 kristin@crossroads-arts.org www.crossroads-arts.org 541-523-5369 \n Judges will award $4\,000 in cash prizes at the opening show at Crossroads-Carnegie Art Center in Baker City\, including $500 People’s Choice Awards at all three venues. \n The Details: Open to Oregon photographers only.  Forty-eight images will be selected for the traveling exhibition in two Areas of Focus • Oregonians at work or play • Views of Oregon \n The goal of the exhibit is to interpret the authentic Oregon experience\, and to challenge artists to look at the urban/rural divide through their lenses and show us stories about our similarities\, rather than our differences. We chose the word “Cascadia” as a reference to the Cascadia Subduction Zone (or fault)\, which stretches the entire length of the Oregon Coast\, as well as further north and south. It is this fault line that is the source of much of the volcanic activity that created the Oregon Landscape and the Cascades\, which have traditionally been the dividing line of our state. In fact\, it is a very long\, sloping subduction zone that separates the Explorer\, Juan de Fuca and Gorda Plates from the North American Plate — the Cascadia subduction zone is where the two plates meet\, and it is at “Cascadia” where Oregon meets. \n We are looking for the best of Oregon’s photographic artists. The uncommon\, unique and extraordinary vistas of Oregon… the urban and intercity views… the graffiti and night life… the mountains and ocean… the canyons and deserts… the streams\, brooks\, and rivers… the city sky lines and rural vistas… fun and exciting\, new sights\, new perspective. \n Two jurors will select the 48 images to be exhibited and three fine art photography judges will select the award winners. Selected photographers will be notified via email and will be asked to send their prints to Crossroads unmatted in a shipping tube.  Crossroads will arrange an account with UPS for mailing\, and Crossroads will matte and frame all work. Crossroads will be responsible for shipping all work to other venues and work will be insured. \n All accepted work must be for sale\, but submitted prints must stay in the traveling show for its duration. When work is sold at any of the venues during the tour\, artists will be responsible for shipping purchased work to the buyer. Crossroads will arrange an option to sell additional unframed copies of work and create a process for this. We will notify all selected artists of all details following the jurying process. The gallery commission will be 30% at all three venues. \n Thanks to a grant from the Ford Family Foundation\, Crossroads will also publish a hard-bound catalog of the traveling show that will be made available to exhibitors and exhibit venues. \n How to Submit Images 1. Submit files via email in high quality jpg format to photos@crossroads-arts.org 2. Name and number each file as follows: 1_Lastname_First name_Title (Example: 1_Smith\,Jane_Rodeo.jpg) 3. File sizes must be 300dpi at 8.5 inches on the longest side (i.e\, 2550 pixels on the longest side) 3. In your email\, include your full name\, mailing address\, email address\, phone number and a numbered list of your file names. 4. Entry fee is $35 per artist for up to three images. Submit fee via this link: http://weblink.donorperfect.com/cascadia \n Jurors: Shelley Curtis\, Retired Director of Oregon State University Art about Agriculture\, Corvallis\, Oregon Terri Axness\, Retired Arts Educator and Professional Artist from Haines\, Oregon \n Judges: Rich Bergeman\, Corvallis\, Oregon richbergeman.zenfolio.com \n John Clement\, Kennewick\, Washington johnclementgallery.com \n Jerry Kencke\, Mountain Home\, Idaho JerryKenckePhotography.com
URL:https://lukeolsenphotography.com/event/submission-call-for-cascadia-2018/
LOCATION:OR
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