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ALWAYS Free Admission

 

Hours: Tues - Fri 10:00 am to 4:00 pm
Saturday Noon - 4:00 pm


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Gallery Hours:

Tuesday - Friday 10:00 am to 4:00 pm, Saturday Noon - 4:00 pm

 

The East Oregonian Gallery at the Pendleton Center for the Arts is a beautiful space for viewing a wide range of artwork. Funded by the East Oregonian, publisher of the local daily paper since 1875, the gallery is flanked by large windows original to the building, bamboo floor and more than 1800 square feet of display area.

 

This website is owned and maintained by the Arts Council of Pendleton and the Pendleton Center for the Arts © 2005

The Arts Council of Pendleton is a 501 (c) (3) non-profit organization established in 1974

This site is generously sponsored by Wtechlink (Oregon’s fastest wireless service!)

October 2013 - Peter Bryan studied at the Institute of American Indian Arts and earned a Bachelor of Fine Arts Degree from Memphis College of Art. His major art influences include DaVinci, Caravaggio, Jackson Pollock, James Lavadour and the art of the Southwest.

 

Bryan is a head injury survivor who credits the therapeutic power of art making with helping him to cope with various effects of his injury. He sought refuge in sketch books as a child and continues to sketch today. His latest sketch books led him to the series for the Works on Paper exhibit.

 

The works are done on a heavy paper using dimensional fabric paint, cattle markers and other unconventional mark making tools. The implements produce clean lines with great contrast and clarity and a color variety and texture that Bryan likes.

Susan Murrell: Embedded

March 6-29, 2014

 

Susan Murrell lives and works in La Grande, Oregon and her site-specific installations,
paintings and works on paper are exhibited nationally. She has been awarded residencies at international programs including Yaddo and Ragdale, and in 2012 she was a recipient of the Golden Spot Award at Crow's Shadow Institute for the Arts.


She is an Associate Professor of Art at Eastern Oregon University. This exhibit was made possible through the support of Shari & Dave Dallas.

Check out a selection of work by Jenny Morgan and Arlen Clark HERE.

Both were featured on the March 22 episode of OPB’s State of Wonder.

R. Keaney Rathbun

April 3-25, 2014

 

Rathbun’s mixed media sculptures and screenprints are autobiographical narratives. The images are figurative and gestural, and are deceptively simple metaphors of human experience. They are joyous and whimsical, emotional and poignant. They represent an optimistic and naïve spirit embracing the moments that make up his life.

 

Free admission made possible through the generous support of Read & Bose, PC.

 

See a video of Keaney talking about his creative inspiration and techniques HERE

 

 

Through Aug. 29, 2015

                          2010  Daniel Duford, David Eckard, and Heidi Schwegler

                          2011   Sang-ah Choi, Bruce Conkle, and Stephen Hayes

                          2012  Ellen Lesperance, Akihiko Miyoshi, and Michelle Ross

                          2013  Mike Bray, Cynthia Lahti, and D.E. May

 

View lots of images from the exhibit when it was at the Museum of Contemporary Craft HERE. Read up on Joan Didion and find several great essays HERE.

 

We Tell Ourselves Stories in Order to Live is organized by the Museum of Contemporary Craft in partnership with Pacific Northwest College of Art, Portland, Oregon. The exhibition is made possible by major funding from The Ford Family Foundation, along with the Western States Arts Federation (WESTAF), National Endowment for the Arts (NEA) and the Oregon Arts Commission (OAC).

We Tell Ourselves Stories in Order to Live

 

This traveling exhibit is a showcase of the 12 Oregon artists honored by the Ford Family Foundation with Hallie Ford Visual Arts Fellowships. View some of the best work being done in the United States, accompanied by a fantastic 20-page catalog you can read online or pick up in print during the exhibit.

 

 

SELECTED PAST EXHIBITIONS...

 

Reflection of the Columbia Plateau featured the work of participants in an annual printmaking retreat that the Pacific Northwest College of Art in Portland and Crow’s Shadow Institute have offered jointly for almost a decade. To extend the collaboration, Karl Davis, executive director at Crow’s Shadow invited the Pendleton Center for the Arts to exhibit half of the works in their East Oregonian Gallery.

The prints in the exhibit represented thirty program alumni and reflect the power of place, community and collaboration. Sponsored by Ferranti – Graybeal Insurance Agency.

2015 Exhibit Schedule…

(Note: Opening Receptions are on the first day of the exhibit—always FREE and open everyone.


April 9 - May 30 Open Regional Exhibit (Drop off April 4. Entry forms online NOW)

June 4 – 26  Aaron Miller: Letterpress and Screenprinting
In the boardroom, Rosco “Carrico” Crooke 

 

July2 – 31 Shanna Fliegel   

August 6 - 28  Frank Janzen: Smoke Prints

 

September 3 – 25  Dale DeGabriele: Western Photography  

October 1 – 30  Hiroko Cannon: New Work

 

November 20 (Friday) – December 31  Art of the Gift

You can view more highlights of our past exhibits and read about the artists here.

2015 Open Regional Exhibit

 

We’re proud to partner with Banner Bank of Pendleton to host the Open Regional each year. This year 167 works of art were submitted.

 

Best of Show ($400) 
Dianna Woolley, Happiness is Yellow on Your Wall

  

Adult First ($150)  Todd Tealander, Cow Coming Home

 

Adult Second ($100)   Penny Michel, Rock Man

 

Adult Third ($75)  Nika Blasser, Gravity Home 1

 

Teen First ($75)  Dakota Kelsey, Against the Grain

 

Teen Second ($50)  Taylor Craig, Red

 

Teen Third ($25)  Cody Belgrade, Bonnie

 

Honorable Mention ($50)  Katherine Treffinger, Serpintine

 

Honorable Mention ($50) 
Mireya deGravia Wolf, El Callejon De Cleofas

 

Honorable Mention ($50)  Connie Betts, Feather Restoration

 

Honorable Mention ($50) M’Lisse Moerk, Fabrilations

 

Crazy Horse Quilters Textile Award ($100) 
Delanne Ferguson, table runner

Judge Terri Hopkins served as director and curator of The Art Gym program of exhibitions, publications and public discussion on art of the Pacific Northwest from the Marylhurst University gallery's inception in 1980 until her retirement in 2014. During that time, Hopkins organized more than 300 exhibitions and 70 publications on the art of the Pacific Northwest.

During her time at Marylhurst University, she was also a member of the faculty and helped prepare students for entry into the art profession through classes and internships. Hopkins has a Bachelor of Art in Art History from Oberlin College and a Master of Art in Art History from the University of Chicago.

 

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Above/Below series

 

Having grown up with abstract art as my first love I am surprised, in some ways, to be doing ‘landscapes’. I arrived in 2001 and it wasn’t until 2005 that my artwork changed and I have become fascinated with the plateau area with it’s many shapes, patterns, colors and the multiplicity of forms that it takes on under varying light and weather conditions.

 

After a two-year drought of any art making, the Above/Below series came in being and is a continued exploration of not only the external land that we see but also a glimpse of possibilities of what may lie underneath.

 

Over a period of time of studying the patterns in the land, driving back and forth to work, it struck me that the soft, gently rolling hills actually form triangles which is one of the most stable geometric forms. This is noted not only in the hills but also in the fields laid out in strange angles with the greens (of which there are many different hues) blending into various ochres and into the grays and browns of raw earth. The jet-blacks of a burnt stubble fields only accentuate and intensify the surrounding colors.

 

The smoke is an ephemeral element, visible when created by the fire below and dissipating unseen into the summer haze when the burning is complete. The only control that I have in creating the smoke on paper is the number of matches used. What patterns come out are totally beyond my control so I become fascinated by using the hard-edged contours to respond to it.

 

 Frank Janzen,

Tamarind Master Printer