Tag Archives: Christine Bourdette

Nan Curtis? Pick up the phone, please

Portland interdisciplinary artist Nan Curtis is the 20th recipient of the annual Bonnie Bronson Fellowship Award. There’ll be a free public reception for her from 6 to 7:30 p.m. Monday, April 25, in the Gray Lounge of Kaul Auditorium at Reed College.

Nan Curtis, "My Mom's Cigarette Wrapper" 2009 cigarette wrapper, paper, frame“My Mom’s Cigarette Wrapper,” 2009

By Bob Hicks

Don’t call them. They’ll call you. But you really do need to pick up the phone.

“My cell phone rang at 8:30 at night,” Portland artist Nan Curtis recalled the other day over coffee at inner Southeast Portland’s J&M Cafe. “My kids had just gone to bed, and — I didn’t know that number, so I didn’t pick it up.”

Then her land line started ringing. This time Curtis figured something must be up, so she answered.

Nan Curtis, "Mom Rocket," 2010. Steel, afghan, pillow.It was Christine Bourdette, the Portland sculptor who was the first recipient of the Bonnie Bronson Fellowship Award 20 years ago and is chair of the Bronson fund advisory committee. Congratulations, Bourdette  said. We chose you. Oh — and you can’t tell anyone for two months.

Just like that, Curtis joined a distinguished list of Oregon artists who have been named Bronson fellows. In order, the fellows include Bourdette, Judy Cooke, Ronna Neuenschwander, Fernanda D’Agostino, Carolyn King, Lucinda Parker, Judy Hill, Adriene Cruz, Helen Lessick, Ann Hughes, Malia Jensen, Christopher Rauschenberg, Kristy Edmunds, Paul Sutinen, Bill Will, Laura Ross-Paul, MK Guth, Marie Watt, David Eckard, and Curtis.

“Those are totally the artists that I grew up beneath. It’s a pretty cool list of people,” Curtis said.

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Mary Oslund’s infinite possibilities

Mary Oslund Dance Company. Photo: John Klicker

By Martha Ullman West

For Mary Oslund, the child’s sense of infinite possibilities has never ended. How else could she have made Childhood Star, her stunningly beautiful new piece, in which she seamlessly mixes every form of movement that has touched her life as a dancer and choreographer?

Commissioned by White Bird, for which we owe them our everlasting thanks, Star premiered at PSU’s Lincoln Performance Hall on Thursday night. (It repeats tonight and Saturday.) Like most of Oslund’s work, it is first and foremost about dancing itself, and an ongoing exploration of what the human body can accomplish aesthetically. It contains, of course, the movement vocabulary Oslund has developed over several decades – long-limbed extensions, geometric shapes, duets involving contact between dancers that initiate movement phrases – but there is also a breakthrough here: a new musicality, a softening of phrasing, a balancing of the emotional and the intellectual that make the piece achingly lovely to watch.

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