Your Custom Text Here
STATEMENT:
"Well, I’ve got to hand it to you. You’re the first one who’s ever hurt me, besides my loving parents that is. Hmmm, it’s been so long since I felt pain. It’s such a strange sensation. What a rare case he is." -Freiza
Albert Navetta:
ugh that’s not even how to spell my name
+1 (***) ***-****:
Chill
Albert Navetta:
ugh I’m just in a bad space rn
sorry
+1 (***) ***-****:
I know
It's ok
But just feel that out, then, when you're better, we'll start chatting again
And it'll be back to normal
Albert Navetta:
i don’t want to talk rn like please stop responding, i know you weren’t but its cool i said some stuff its fine
there isn’t a normal, idk I’m very frustrated.
+1 (***) ***-****:
Ok deal
Ttyl
Albert Navetta:
i would like a sorry, not actually, but like idk how to explain it
fuck
Read: 12/5/15
GOODNIGHT SWEET PRINCE: a selection of works that focus on digesting a series of events. (I don't think I'm really ready to talk about it yet).
BIO:
Albert Navetta is an artist living in New York City. Their current work focuses on viewing themself as an antagonist by means of projecting narratives from personally relevant media onto the events of their own life, as an attempt to elucidate, predict, and ultimately ineffectualize them. They have shown in New York City, Philadelphia, and Portland, Oregon.
Hayley Barker
B. 1973, Lives & works in Los Angeles
BIO
Hayley Barker makes gestural, expressive drawings and oil paintings about visionary and ecstatic experience, informed by site-specific research and her own nature-based feminist spiritual practice.
Her work has appeared in Pacific Northwest venues such as Charles Hartman Fine Art, Disjecta, and the Art Gym and in publications such as New American Painting and The Harvard Divinity Bulletin. Her work was named the best show in Portland of 2014 by Art Ltd. magazine and has been reviewed in Art in America, the Oregonian, Willamette Week, Portland Monthly and Visual Arts Source. This spring she will have shows in LA and at Carl & Sloan Contemporary (5/7-5/29).
Barker received her B.A. from the University of Oregon (1996) and her M.A. and M.F.A. in Intermedia, from the University of Iowa (2001). In 2015 she relocated from Portland to Los Angeles.
Art Info
Sketch for Guardian Standard
2016
Gouache on paper
4"x3"
$250
My work is highly process-oriented and steeped in materiality. The abstracted land masses in my paintings form out of pouring and painting in layers and geological inconstistancies. I cut out these forms and create new hybrid shapes that balance between the natural and manmade. This duality conveys a sense of both the beauty and contamination I see in the American landscape.
Jessalyn Haggenjos was born in Portland, OR. She lives and works in both Portland, and Mexico. Jessalyn received her BFA from Pacific Northwest College of Art and holds an MFA from California College of the Arts in San Francisco, CA.
In addition to the Golden Foundation Residency, she has been the recipient of residencies at the BAU Institute in Otranto Italy, Ox-Bow, MI, and worked as an artist in resident at the San Francisco Arts Education Project.
She has exhibited work in San Francisco, Los Angeles, Portland, Boston, Seattle, Las Vegas, and New York. She has shown internationally in Copenhagen and has been featured in art fairs in London, LA and Miami. Her work has been featured in numerous publications including New American Paintings, Verb Magazine, Cheap and Plastique Magazine and Whitefish Review.
Haggenjos.com
Something has Changed
It’s as if
We had left our house for five minutes to mail a letter,
And during that time the living room had changed places
With the room behind the mirror over the fireplace…
W. H. Auden, The Age of Anxiety
"'This is a God-given signal! If this fire, as I believe, turns out to be the handiwork of [], then there is nothing that shall stop us now crushing out this murder pest with an iron fist.'
It was then that [] turned to me. 'God grant,' he said, 'that this is the work of the []. You are witnessing the beginning of a great new epoch in [] history. This fire is the beginning.'
And then something touched the rhetorical spring in his brain. 'You see this flaming building,' he said, sweeping his hand dramatically around him. 'If this [] spirit got hold of [] for but two months it would be all aflame like this building.'”
D. Sefton Delmar, London Daily Express 2/28/1933
My pleasant things in ashes lie
And them behold no more shall I.
Under the roof no guest shall sit,
Nor at thy Table eat a bit.
No pleasant talk shall 'ere be told
Nor things recounted done of old.
No Candle 'ere shall shine in Thee,
Nor bridegroom's voice ere heard shall be.
In silence ever shalt thou lie.
Adieu, Adieu, All's Vanity.
Anne Bradstreet, Verses upon the Burning of our House, July 18th, 1666
When the house burns one forgets even lunch. — Yes, but one eats it later in the ashes.
Friedrich Nietzsche, BG&E
Rebecca Peel is a writer, curator and artist living between Portland, OR and New York, NY. She received her BFA from Pacific Northwest College of Art in 2013. Rebecca founded Amur Initiatives Media and Research Group in 2013, and has most recently exhibited her personal work in Portland, Toronto, Columbus, San Francisco, and New York City. She will be completing a collection of her own written works within the year.
Proposed Herzogisms.
These are 31 imagined examples of descriptive language (read: oxymorons) that director Werner Herzog might use while narrating one of his documentary films, based on comedian Paul F Tompkins' impression of Herzog on multiple episodes of Comedy Bang Bang: The Podcast. Each day in December of 2015, Albatross will feature a different Herzogism.
The Extending Eye
Albatross Gallery, Portland, Oregon, November 2015
The Extending Eye is a series of 20 small portraits drawn in (mostly) bright colored pencil, wax pastel and gouache colors on black gessoed paper. The individuals and pairings here range in aspect from sinister to dignified to ridiculous; their titles suggest their trades, honorifics, geographic locations as well as more direct descriptions; they represent a mishmash of time periods and styles of dress. Together, they might form a dramatis personae from a centuryspanning scifi comic book that I will think about but never write.
Carl Diehl | Modular Mythos | 2014
In the Modular Mythos series, the prescribed use and familiar modes of social interaction surrounding mobile phones are estranged. In these works, smart phone equipped visitors are prompted to search for and display visual components on their own network-enabled devices, physically arranging and visually composing their own display screens to construct panoramic and polytyptic compositions. Although the mediating presence of digital devices is involved in this work, interactivity in this context privileges physical actions-necessitating social interaction and exchange within the immediate presence of the work.
Carl Diehl | Biography
Born in Syracuse New York (1978), Carl Diehl holds a BFA in Art Video from Syracuse University (2000) and a MFA in Digital Art from the University of Oregon (2007). From 2000 to 2003 he was an events programmer at Artists’ Television Access, in San Francisco, where he continues to volunteer remotely as a layout and copy editor. Together with Lindsey French he is developing the Antonymic Exchange, an idiosyncratic approach to algorithmic literacy. In Portland, he coordinates meetings of HTML ( Hundred Thousand Million Labyrinths) a constraint-based writing group, pursues the "atempastoral,"and programs events with Weird Shift, a center for marginalia studies. Diehl’s video essays, installations, performances and other works have been exhibited nationally and internationally at events including: the International Symposium of Electronic Art, Transmediale and the &Now Festival of New Writing . Carl Diehl also teaches at the Pacific Northwest College of Art and Portland State University.
Title: Everyone is a Critic.
Artists Statement:
After 8 years living in Portland, OR this will be the first year that artist Jen Delos Reyes will not be in attendance at PICA's TBA festival. Part FOMO, part fostering critical dialogue, and part a longing to stay connected to the creative community she grew to love dearly, Delos Reyes is inviting you to text her your thoughts, feelings, and micro-reviews of the 2015 TBA festival. Messages received will be shared through the Albatross blog with the anonymity of the sender respected.
Bio:
Jen Delos Reyes was born in the city of Winnipeg, and educated first in its local music scene of the mid-90’s infused with the energy of Riot grrrl and DIY, and then in its university. How she works today is rooted in what she learned in her formative years as a show organizer, listener, creator of zines, and band member.
Delos Reyes is a creative laborer, educator, writer, and radical community arts organizer. Her practice is as much about working with institutions as it is about creating and supporting sustainable artist-led culture. Delos Reyes worked within Portland State University from 2008-2014 to create the first flexible residency Art and Social Practice MFA program in the United States and devised the curriculum that focused on place, engagement, and dialogue.
She has worked with the Portland Art Museum from 2009-2014 to create a series of programs and integrated systems that allow for artists to rethink what can happen in a museum, and reinvigorate the idea of the museum as a public space.
She is the director and founder of Open Engagement, an international annual conference on socially engaged art that has been active since 2007 and hosted seven conferences in two countries at locations including the Queens Museum in New York, and the Carnegie Museum of Art. She is currently working on I’m Going to Live the Life I Sing About in My Song: How Artists Make and Live Lives of Meaning, a book exploring the artist impetus toward art and everyday life. She based in Chicago, IL and is the Associate Director of the School of Art and Art History at UIC.
Histrionic Harmony A Suite of 15 Works on Paper By: A•C•M Lorish
Statement:
Histrionic Harmony is a suite of 15 works on paper culled from museum postcards collected from around the world by the artist. Forcing two fragmented images together creates an unnecessary tension in the picture. Glyphic markings in neon puff paint attempts to relieve that tension and solidify balance in the picture. A balance that the artist strives to achieve in every picture. In fact the artist is on a perpetual, and at times Sisyphean, quest to solidify balance in his own life and likes making pictures because of the inherent ease of controlling something.
Bio:
A•C•M• Lorish was born in Eugene, Oregon. He studied at School of the Art Institute of Chicago, and Pacific Northwest College of Art where in 2013 he received his MFA in Visual Studies. Selected exhibitions include False Front in Portland, North Bank Gallery in Vancouver, Liberty Arts Center in Yreka, California, Sullivan Gallery in Chicago, Rockerill in Charleroi Belgium, and dOCUMENTA (13) in Kassel, Germany. He is a founding member of the art collective Danger Punch. He lives and works in Portland Oregon.
Each day exists somewhere between perseveration and persistence.
Johanna Robinson “Identity Weavers” is a series of seven consecutive paintings that explore the idea of the constructed image. The paintings are a play on the fact that Albatross Gallery is contained within an identification badge. The works consist of intricately cut out vellum silhouettes, which are then placed over a sheet of reflective mylar so that the viewer's own image becomes a part of the piece. Each consecutive painting contains one new element of imagery, so that the viewer's reflection will ultimately become completely obscured. This weaving of imagery against the mirrored surface questions the interplay between objective and subjective perception. Are we the creators of our own identity or is it constructed by some outside force?
Johanna Robinson is an artist from NY who has lived in Portland since 2010 after traveling across the country. She graduated with a BFA from The School of the Museum of Fine Arts in affiliation with Tufts University in 2007. Robinson works as a photographer by day and spends her free time painting in her studio. She has completed an artist's residency with fellowship at the Vermont Studio Center and shown work internationally in New York, Portland, and Berlin.
Artist Statement:
"What do you equip? What stays? What goes?
The entire shopping mall is at your disposal, but you pick from a single store. You could shop anywhere, but you choose to shop here.
What things do you use to move through the world, to grant you access? Access, to the places you need to go, to the person you want to become.
But how do those things colonize you? How do they remake you in their image?
In whose image?
What power do they have? Who gave it to them? What gives it to you?"
Project description:
"Inventory is a series of 31 plastic, Perler Bead, mosaics, one for each day of the exhibition. Each mosaic depicts a different object derived from the inventory screens within various video games. Each day the curator of Albatross will select a new object to don depending on their whim or personal interest. Perler bead sprites are an emergent popular form of craft used to make physical objects derived from digital pixel art. The objects selected as subject matter allude to possibility, are ambiguous in purpose, or otherwise point toward something off camera. In bridging the physical and the virtual we consider both the objects imagined purpose and the virtual self who would implement it.
Bio:
T. Nikolai is a visual artist based in Portland, Oregon. They are the co-founder of Compliance Division, a Portland exhibition space, and have an MFA in Visual Studies from the
Pacific Northwest College of Art. Their work is concerned with the
implications and intersections of digital technologies, capitalism,
fantasy, the occult, and net-based subcultures. They hold a BFA in
Painting and Drawing from the University of Utah, where they also acted as
Dungeon Master.
Website: http://www.travisnikolai.com/
