by Donna D’Orio I do not remember a time when I was not drawn to utilitarian, traditional art forms. The texture of handwoven dishtowels, crockery bowls out of kilns from Kentucky and North Carolina, and hand-hewn axe blades were part of my everyday childhood world. It did not go by me unnoticed, the difference, when […]
by Jenna Preston My husband Zack and I can only be described as “music nerds.” Or at least that’s what we jokingly call ourselves. We met in music theory class at Central Oregon Community College in Bend, Oregon. Although we barely shared two words for the first six months of our acquaintance, we soon became […]
We’re celebrating contemplation and gratitude all week long. Read more Thanksgiving reflections, by students, faculty and alumni, at The Gero-Punk Project.
by Erica Wells
Have you ever sat down with a box of photos, old letters or childhood possessions? Most of us come across these time capsules every so often, either during an intentional exercise to clean out storage space, or accidentally, such as that time you were trying to find your very important documents that were kept in a very safe place, which happened to be right next to some high school yearbooks…at least that what happens to me.
by Nancy Gibson I have been returning to El Remate almost every year since 1998. The people are kind and warm, and it was the first village I’d been to in Latin America that was passionate about education — both for girls and boys. Our first trip in 1998 was supposed to last only five days. […]
Art alum Dawn Roe has an exhibition — Goldfields – at The White Box at the University of Oregon in Portland. In her words, here is the story behind Goldfields, as well as the ideas that permeate and prompt her work.
by Dawn Roe
This work came into being during my time as Artist-in-Residence at the Visual Arts Centre of LaTrobe University in Bendigo, VIC, Australia. I arrived in the region (known as The Goldfields) without a preconceived idea about what I might do while there, so these intersections between the opposing perspectives of indigenous and colonial settler narratives, pastoral landscape representations, folklore and myth, became a kind of starting point for the project. I was very conscious of the fact that I was an outsider to this space and not personally tied to its history. But at the same time, I did feel an affinity to the bushlands in the same way most of us have a familiar response to the forest in general, largely due to the myths that permeate these spaces – both folkloric and personal. So I chose to simply respond to the space while considering these layers, thinking equally about how various interactions within the region impacted the landscape both physically and metaphorically – the gold mining being paramount of course, but also the very rich indigenous narratives that remain overwhelmingly present in the form of rock formations, lookout points and the myths attached to natural fauna, birds and other animals.