John Yeon

ArtsWatch Weekly: Let there be dark

Music for the Great Eclipse, free at the museum, remembering Katherine Dunn, Brett Campbell's music picks, having babies & more

It might have come to your attention that six days from now, on Monday, August 21, the sun will be temporarily smitten from the sky across the nation, on a path from the Oregon Coast to Charleston, South Carolina. Here at ArtsWatch World Headquarters we had planned to ignore this astronomical anomaly, figuring you’d be hearing plenty about it elsewhere, until we received a note from All Classical Radio.

Wait! Put on your dark glasses!: Antoine Caron (French, 1521 – 1599), “Dionysius the Areopagite Converting the Pagan Philosophers” (also known as “Astronomers Viewing an Eclipse”), 1570s, oil on panel. 36 1/2 × 28 3/8 inches, The J. Paul Getty Museum, Los Angeles

The network’s seven Oregon outlets and internet stream, it seems, will be playing an Eclipse Soundtrack from 8 in the morning to noon on the Day of Darkness: little ditties ranging from Richard Strauss’s Also Sprach Zarathustra (you might recall it from the movie 2001: A Space Odyssey) to Gustav Holst’s The Planets, Debussy’s Claire de Lune, and more. The broadcast will hit a high note at 10:19 a.m. – when the eclipse hits totality in Oregon – with the world premiere of The Body of the Moon, a commissioned piece by Desmond Earley, performed by Portland’s Resonance Ensemble, cellist Nancy Ives, percussionist Chris Whyte, and improv vocalist Erick Valle.

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A bigger, bolder Jewish Museum

The Oregon Jewish Museum and Center for Holocaust Education takes over the old craft museum space with a broadened vision and a vibrant Russian art show

In a crowded second-floor gallery at the corner of Northwest Davis Street and Park Avenue, the joint was jumpin’. Television cameras whirred in the new home of the Oregon Jewish Museum and Center for Holocaust Education, a small jewel of a museum location that had been sitting vacant for many months. Reporters cornered curators and scribbled notes. Early birds wandered up and down the stairs of the 15,000-square-foot space’s two stories. The Russian artist Grisha Bruskin, outfitted in black from his close-cut coil of hair to his sleek sneakers, was talking about his new exhibit, ALEFBET: The Alphabet of Memory, which was spread like a giant quilt across the main-floor gallery below. Preparations for Sunday’s free public grand opening were in full swing, and the mood was jubilant.

Bruce Guenther, curator of inaugural exhibition, and Judy Margles, director of Oregon Jewish Museum and Center for Holocaust Education. Photo: Palma Corral

It was Wednesday in the prime Pearl District space, which had been home to the Museum of Contemporary Craft until that museum was abruptly shut down by the board of the Pacific Northwest College of Art more than a year ago, shocking both the city and a tightknit national craft art scene that had considered MoCC a pacesetting institution. After several months of hammering, sawing, painting, and reshaping spaces, it’s been reborn as the new home of the Jewish museum, which has moved from a space half its size and far less strategically located. Judy Margles, the museum’s longtime director, addressed the preview-day crowd. The designers took a bow. Bruce Guenther, the former chief curator of the Portland Art Museum who is curating the museum’s first season of exhibitions, introduced Bruskin, whose ALEFBET he praised as taking “its place with the tapestry masterworks.” And if the bubbly wasn’t flowing (it was a Wednesday morning, after all) the coffee was: Suddenly a space that had housed an important cultural center that had died before its time seemed alive with hope and possibilities again.

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