A view of the Rothko retrospective (photo Jeff Jahn)

The Mark Rothko retrospective at the Portland Art Museum opens to the Public Saturday February 18th. I've seen it and YES it lives up to expectations for the profound and even throws in a a painting or two that have never been shown in retrospectives before.

No it doesn't break much art historical ground (it could have and other institutions are developing that scholarship, some of which originates from PORT articles).

I'll delve into into a more detailed discussion soon but for now I'll quell any fears you might have. First off, about half of the show consists of major late period works installed nicely. Yes the layout allows both a chronological walk through and a more intuitive path, both are musts for any aspiring artist of any genre since they show a somewhat talented but uniquely driven mind at work relentlessly trying to unlock the potential of not only himself but art in general. PORT has easily covered Rothko in more depth than any area publication and these two posts on; Rothko's connection to Portland and some aesthetic sensitivities as a consequence of that upbringing are the best places to prep for the exhibition. It's an auspicious homecoming which moves PAM into a new phase and fulfills some of the heightened expectations that the museum now enjoys and must consistently live up to. That's the thing about greatness, it places demands on viewers, patrons, institutions and discourse. In those respects Rothko both delights and challenges all of us in a way that has been a long time coming.

Mark Rothko a retrospective at The Portland Art Museum
Through May 27th



Kyle Thompson's SONIC REDUCER / SCALAR COUPLING

Yes, without Rothko it would seem like Kyle Thompson month here at PORT but he does have an opening tonight at Half/Dozen for SONIC REDUCER / SCALAR COUPLING.

"Thompson will present documentation of a two-day performance that took place in the center of a dry lake in early January. A durational work that ranges from creation to entropic resolution, it stems from an unlikely relationship between quantum chemistry and punk rock. Thompson uses tenets of quantum chemistry to drive a refreshingly utilitarian and process-based methodology. SONIC REDUCER / SCALAR COUPLING references The Dead Boys’ first track off of their 1977 album Young, Loud, and Snotty, which has become a prolific cornerstone of punk culture. As Thompson juxtaposes creation and destruction, he also straddles the ideological conflict between the ideals of his youth and the progression of his theories."

Opening Reception: February 17th | 6pm-9pm
Half/Dozen | 722 E Burnside Basement, Entrance on SE 8th Ave (shiny black doors, go down and then stay left)
Additional Showings: February 18th & 19th, 3pm-6pm | February 23rd & 24th, 6pm-9pm
Contact: Timothy Mahan, Director | 503-816-6963 | tim@halfdozengallery.com