Harold Feinstein

ArtsWatch Weekly: Blue Ribbon Special

A look at the week that was in Oregon arts. A glimpse ahead at the week that's going to be.

Summertime, and the feeling is scattered. The rhythm of the season is both relaxed and jagged, irregular, prone to long gaps and sudden leaps. Quick: a day in the mountains, a weekend at the beach, a backyard barbecue before the weather turns and the kids head back to school.

Screen Shot 2016-08-23 at 1.55.34 PMIn the past week or so I’ve spied a lovely giant wood-carved Bigfoot lurking by the side of the road on the way to Timberline Lodge, which whetted my appetite for funky folk art; and a swayback, smudged-white horse grazing idly beneath a giant Trump for President sign on a farm north of Ellensburg in central Washington, which whetted my appetite for oddball juxtapositions. Both are peculiarities that seem congruent with an August day.

Down in Salem the Oregon State Fair opens on Friday (“Here Comes the Fun!” the promos shout) and I doubt I’ll make it this year, but if I do I’m also pretty sure I’ll find some blissful oddities to contemplate. I note, for instance, that one of the ongoing features is something called Machine Mania, in which “Pistons Rule!” Plus, this year there’ll be a blue ribbon for marijuana crops. The mind boggles.

 


 

AUGUST ARTS EVENTS are often quick-and-dirty affairs, too, here and gone again almost before you can blink. A couple of short-term things coming up this week, plus a longer-running show to get on your calendar before it disappears:

"The Reimagining of French Gray by the Displaced Woman." Photo: Chain Reaction Theatre.

“The Reimagining of French Gray by the Displaced Woman.” Photo: Chain Reaction Theatre.

The Re-Imagining of French Gray by the Displaced Woman. The world premiere of Elizabeth Huffman’s reimagining of a 1967 Josef Bush play will run Friday, Saturday, and Sunday at Milagro Theatre. A co-production of Huffman’s Chain Reaction Theatre and Cygnet Productions, it’s directed by Cygnet’s Louanne Moldovan and stars Huffman in the dual roles of a wealthy Austrian queen caught in the aftermath of the French Revolution in 1793 and a wealthy Syrian bon vivant caught in an Arab uprising in 2016.

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Harold Feinstein’s camera was always at the ready

A Blue Sky photography show gives us the quick eye of a New York photographer

I’ve been looking at art for nearly 50 years. I rarely get a surprise anymore. I was about a quarter of the way around the front gallery at Blue Sky when I thought, “Holy smoke, who was this Harold Feinstein and why didn’t I know about him before?”

I was looking at Blanket Toss, 1955, a photo of activity at Coney Island. In a broad void of blank sky, a guy in swim trunks flies high above the tossers below. The tossee flails in a gesture that would never be found in painting because the angle produces a hard-to-grasp view of the anatomy—in painting it would not be believable. We would think that the artist had exaggerated, or misunderstood anatomy.

Blanket Toss

Harold Feinstein, “Blanket Toss”, 1955/Courtesy Blue Sky Gallery

But in photography we believe it because it is a photograph, something that records what is actually there. Especially long before Photoshop. The awkward gesture of the tossee is important, but I think the key to the picture is the pair of boys at the front foreground, who have turned away from the action to smile in our direction. In these pictures Feinstein often makes the spectators as important as the performance.

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