RACC Blog

News For RACC Grantees

Written by

We’ve heard from many of you with concerns about the COVID-19 virus. We want to assure you that RACC is committed to supporting the artists and organizations we work with in this rapidly evolving situation. Our staff is working remotely and you can reach your grants officers by email – see contact information below.

If your planned project or performance needs to be cancelled, rescheduled, or modified as the result of the virus, RACC can be flexible. We’re happy to discuss modifications to your proposed activity as needed—remember that there is no set deadline for completion of your project.

Reminder, there may be some delays in getting grant payments sent out. Direct Deposit (ACH) payments will continue to be sent weekly, but paper checks may take longer to generate. If you need a grant payment quickly, we recommend you email us a completed version of the ACH form to your grants officer.

Helen Daltoso hdaltoso@racc.org

Ingrid Carlson icarlson@racc.org

New art brings a glow to the city’s iconic Portland Building

Written by

Come visit your new art collection at the reconstructed Portland Building

Public art installed in the Portland Building adds a glow to the newly renovated architectural icon. The building has always doubled as a venue to showcase public art and that role has grown with the reconstruction, which includes new pieces commissioned through the Regional Arts & Culture Council (RACC). RACC’s Public Art Program acquires and cares for publicly owned art.

A local panel of artists, curators, community members and city staff worked for several years to commission and purchase these artworks for the Portland Building as part of the City’s 2% for Art requirement. The current installations, located on the first and second floors of the building, are part of the first phase of art selected and created specifically for the building.

Please note, to protect public health, the Portland Building is currently closed to the public.the City of Portland is postponing the grand reopening of the Portland Building scheduled for Thursday, March 19. All Design Week Portland events are rescheduled for August 2020.

New commissioned artworks installed to date in the Portland Building
Refik Anadol Studio, Data Crystal: Portland
One of the most impactful aspects of the building renovation is the addition of a large window wall and gathering space on the east side facing Chapman Square. Today, people passing by on Fourth Avenue can gaze into the building through the double-height wall of glass and see Refik Anadol Studio’s large-scale, 3-D printed, A.I. data sculpture, Data Crystal: Portland, which was designed specifically for the Portland Building.

The artwork is visible to building visitors from both the first and second floor. It represents the material connections that emerge from invisible interactions between fellow city dwellers by combining art, technology, and the interconnected communities of Portland. Anadol was inspired by the last line of Ronald Talney’s poem, inscribed on the plaque that accompanies Raymond Kaskey’s sculpture Portlandia, “This is how the world knows where we are.”

The visuals projected on to the sculpture were conceived by Anadol in partnership with the mind of a machine, utilizing cutting-edge machine learning algorithms trained on a data set of nine million publicly available photographs and digitized archival documents of Portland. The shape of the 3-D printed structure on which the visuals are projected was also informed by the same data set, but created by using advanced robotic 3D printing and A.I. technologies.

For this artwork, Anadol theorized that with today’s technology, it’s nearly impossible to get lost in this world – both geographically and historically.  With every photograph taken, a digital memory is captured, and a virtual record of a specific time and place is recorded.  These memories are “crystalized” when shared publicly.  When aggregated, the repeated acts of sharing digital memories eventually solidifies the collective memory of a specific place.

Portlandia, Raymond Kaskey
Get up close and personal with the iconic Portlandia statue from a new publicly-accessible balcony, or with a smaller, 3-D print located at the top of the second floor stairs, made with the partnership of local Portland business, Form 3D Foundry. Originally installed in 1985, Portlandia by Raymond Kaskey, is the second-largest hammered-copper (or repoussé) sculpture in the United States, and was rededicated in 2019 as part of the building reconstruction. Tag your photos of either version of this Portland icon to #weareportlandia.

Neither Here Nor There, Shelby Davis and Crystal Schenk
Located on the first floor adjacent to the building’s front entrance, is Neither Here Nor There by husband and wife artist team Shelby Davis and Crystal Schenk. Together the two transformed a huge, 100-year-old silver maple removed from the Laurelhurst neighborhood in 2015. Extracting the tree itself was a labor of love, involving large cranes and slabbing the trunk with a rare ten-foot chainsaw. But the stunning material lives on, reborn, in the renovated building. The installation includes several hand-carved and meticulously crafted wooden benches where visitors can sit, as well as hanging shelves and floating sculptural pieces suspended from the ceiling.

Topography from around the state was computer modeled and fit to some of the biggest boards from the tree’s trunk and then cut to relief on a computer-controlled (CNC) router. Afterward, each piece was carefully glued together, hand carved, and sanded. Glass castings implanted in the floating panoramas, with their shift of scale, create new perspectives on the familiar. Their subtle and grander shapes recall actual time spent in those landscape folds – creating memories and inspiring visitors with a sense of connection and curiosity. Look for local and significant places in Portland and Oregon including neighborhoods, the Columbia River Gorge, Crater Lake, Mount Hood, and more.

Portion of Neither Here Nor There, Shelby Davis and Crystal Schenk

We’ve Been Here by Kayin Talton Davis
In the new Lizzie Weeks room to the north of the front entrance is We’ve Been Here by Kayin Talton Davis. The primary focus is Lizzie Weeks, along with images of other Black women establishing lives in Portland at the turn of the century into the 1930s. Talton Davis describes the significance of creating this large, vibrant panel and the research she did to collect stories about the lives of important, but overlooked, women as part of her process. “I went into city archives, Oregon Historical Society,” she said. “I also reached out to other people within the community to get different pictures and stories.” Additional women portrayed include: Lola Ondine Graham Chandler (with her sister), Frances Josephine Harlow Chandler (a Lakeview midwife), women from the Walker family (Rutherford Collection), Beatrice Morrow Cannady and Thelma Johnson Street.

Small Works Collection
Visitors can also enjoy several locations on the first and second floors hung with smaller-scale artworks made by artists from the greater Portland area. There are three artwork zones, each with its own curatorial focus.
Zone One, First Floor – Sublime Landscape – painting by artist Adam Sorensen (not currently installed)
Zone Two, Second Floor – Cityscape – many artists
Zone Three, Second Floor – Social Landscape of Portland, life experience of living in Portland, the cultures, multiplicity of viewpoints, fun and quirkiness of the residents – many artists

On the second floor, comfortable, modern seating is placed next to the second-story balcony, adjacent to the new artworks. Visitors to the balcony area can enjoy expansive views of the park blocks and downtown buildings through the large, window and views of the hanging sculpture Data Crystal: Portland.

Complete list of artists and artworks featured in the “Small Works Collection,” below.


Zone Three, Second Floor – Social Landscape of Portland (north wall) – many artists

Installation Space
Also on the second floor, visitors will find the building’s new Installation Space. Since its start in 1994 the Portland Building’s Installation Space has hosted more than 200 site-specific exhibitions, showcasing and promoting local contemporary artists and reflecting the creative rigor and diversity of Portland. The Regional Arts & Culture Council curates these rotating exhibitions.

The new space will be programmed with interdisciplinary conceptual art work made by regional artists and is envisioned as a way to energize public dialogue, understanding and exposure of visual art, as well as draw new audiences to the public’s new building.

King School Museum of Contemporary Art – KSMoCA
The inaugural exhibition in the Portland Building’s new Installation Space includes a selection of ephemera curated by the Student Curatorial Committee from KSMoCA’s archive.

Photo by MOE of the Student Curatorial Committee in an exhibition they curated at PSU
(left to right: Roz Crews, Solianna, Isaiah, Rocky, JaMiyah, Ana, and Diana with Dr. MLK Jr. school Community Agent Tiffany Robinson)

The King School Museum of Contemporary Art (KSMoCA) is a contemporary art museum inside Dr. MLK Jr. School, an elementary school in Northeast Portland. Creating unusual connections between kids and internationally renowned artists, KSMoCA reimagines the way museums, public schools, and universities can affect people, culture, and perspectives by creating radical intersections for sharing resources across organizations. KSMoCA was founded in 2014 by artists Lisa Jarrett and Harrell Fletcher and is collaboratively developed with the Dr. MLK Jr. School community, PSU students, and a team of artists.

KSMoCA’s Student Curatorial Committee is led by fourth and fifth graders from the school with KSMoCA Program Managers (and artists), Roz Crews and Amanda Leigh Evans. The committee conducts research about local and non-local artists to inform their work as curators of KSMoCA’s MLK Jr. Gallery. As part of this research, students meet with curators, gallerists, and educators to discuss curatorial topics, study books about contemporary artists, and conduct studio visits with local artists. In 2018, this group established a student-run gallery within the museum to display work by their peers in addition to work by local artists in Portland, OR.Learn more: http://www.ksmoca.com/

RACC advocates for public and private investments in the arts, provides grants for artists and arts organizations, manages public art, raises money through workplace giving, conducts arts education in public schools, and provides community services, including workshops for artists, organizational consulting, and a variety of printed and electronic resources. RACC is a 501(c)(3) nonprofit organization that receives funding from a variety of public and private partners to serve artists, arts organizations, schools and residents throughout Clackamas, Multnomah, and Washington counties. For more information visit racc.org. 

Get Directions

MEDIA CONTACTS:
For information about artworks and artist contacts:
Heather Nelson Kent
Communications Manager, Regional Arts & Culture Council
503-823-5426
hnkent@racc.org

For Portland Building information:
Heather Hafer
Public Information Officer, Office of Management and Finance
heather.hafer@portlandoregon.gov
503-823-6965

Small Works Collection
Zone Two, Second Floor – Cityscape (near Installation Space)

First Name Last Name Artwork Title Year
Akihiko Miyoshi Protocol 2019
Avantika Bawa Coliseum #4 2017
Avantika Bawa Coliseum, Red Sky 2018
Elena Thomas From the Bridge 2018
Ivonne Saed Sellwood Bridge Construction 1 2015
James Allen Portland Trolley Years 2016
Loren Nelson 3600 NW John Olsen Parkway; Hillsboro, Oregon 1999
Marie Watt Untitled 2012
Marie Watt Part and Whole: Ripple, Hoop, Baron Mill 2011
Michelle Muldrow Portland Trailer 2018
Rory ONeal Overpass Glow – PDX 2019
Ruth Lantz Veil of Density 2015
Gabe Fernandez Audi with 356 cover 2018

Zone Three, Second Floor – Social Landscape of Portland (north wall)

First Name Last Name Artwork Title Year
Deb Stoner Hellebore and Pieris Japonica in Winter 2016
Hsin-Yi Huang The Light Within 2009
Katherine Ace Friends and Neighbors (1) (group of 6) 2019
Rebecca Rodela Abuelito y yo reunidos 2014
Sabina Haque New Portlanders 2019
Stuart Allen Levy Cinco De Mayo 2009

Zone Three, Second Floor – Social Landscape of Portland (south wall)

First Name Last Name Artwork Title Year
Emma Gerigscott Dog Party No. 1 2017
Jo Hamilton The Ruth Nebula – 1948 2018
Sabina Haque HALFIE 2010
Samantha Wall 31 Days series 2017
Oriquidia Violeta Madrina 2019
Ralph Pugay Cattle Rave 2013

 ###

State of the Arts annual presentation information

Written by

RACC will present its annual State of the Arts report to Portland City Council later is spring of 2020. We invite you to join us and learn how RACC and the City invest taxpayer dollars to support culture, creativity and the arts—and to thank City Council for their support.

Council Chambers is equipped with a sound system for the hearing impaired. Assisted listening devices are available from the Clerk.

The City of Portland will gladly accommodate requests for an interpreter or make other accommodations that further inclusivity. Please make your request at least 72 hours before the meeting to the Council Clerk 503-823-4086. (TTY 503-823-6868). Translation in ASL will be present at our presentation.

City Council meetings can be viewed at www.portlandoregon.gov/video

The meetings are also cablecast on CityNet, Portland Community Media television. Watch CityNet on Xfinity Channel 30 and 330 (in HD) and CenturyLink Channels 8005 and 8505 (in HD).

Executive Director Madison Cario on change and growth at RACC

Written by

Madison Cario (second from left), with Jennifer Arnold, Charlene Zidell, and Cheryl Green.

Feb. 18, 2020 update:

In the three weeks since announcing our reorganization, we have had a wide range of conversations about the changes and I appreciate the opportunity to reflect on the feedback received to date – please, keep it coming! Reach out anytime at ed@racc.org.

Many stakeholders were consulted over the past year as we considered potential options for RACC. They candidly shared their thoughts with me, with staff, and with board members. Their input helped shape decisions and came from many perspectives, including:

  • Leaders of arts organizations in Portland – including many of the small and mid-sized organizations benefiting from changes to RACC’s grantmaking criteria;
  • The Portland City Council and other city officials that raised concerns following the release of the Auditor’s 2018 report and initial steps to implement the auditor’s recommendations;
  • Funders and leaders of Portland’s philanthropic community;
  • Leaders of community-based organizations;
  • Peers from other cities with Arts and Culture Council’s – and data recently released by American’s for the Arts on funding for arts organizations around the country.

A number of people have expressed concerns about the RACC staffers laid off as a result of the restructure. I appreciate that concern and I share it. While we can never give details about any individual, I do want you to know that affected staff have been invited to apply – and given preference in the hiring process – for new positions that better support the organization’s new direction and vision. More updates on RACC staffing in the weeks to come.

Posted Jan. 29, 2020

When I first arrived at RACC last January 2019, I was inspired by the people, the diversity of the community, the field and the art forms. A year later, I am still inspired. For a full year I’ve asked people – if you could list the top 3 things that you’d like to have an arts council do to support you and your work, what would that be? Over and over again I was told we need you (RACC) to convene, connect, and bring us together we need you to advocate on our behalf, and we need you to get us more resources! With this in mind we began to imagine how RACC could best fill these gaps.

My charge, as given to me by the board since before my first day in Portland, has been to evaluate RACC’s challenges and opportunities. To develop a strategic plan for RACC to fulfill its responsibility and realize its full potential to advance a thriving, equitable and inclusive arts and culture environment throughout greater Portland.

For the past year I have been listening to artists, nonprofit leaders, and many other folks with big ideas. In meeting rooms from Oregon City to Hillsboro, at gatherings hosted by RACC and at arts events across the region, through “office hours” at local cafes and happy hours at neighborhood hotspots, I’ve been amazed and inspired by the abundance of passion and creativity here. I have heard a strong desire for us all to collectively “do more”.

I also heard, quite frankly, common themes of dissatisfaction with how RACC has been functioning. There are many myths and misunderstandings about what RACC is, what we do, how we do it (spoiler alert: this is the magic) and for whom we are doing things. This confusion contributes to unintended consequences that play out in missed opportunities, inequitable practices, a sense of mistrust and squabbling over resources – both internally and externally. Without clarity and alignment, our brand and our impact are diminished, negatively affecting our staff, our board, our partners and the communities we serve.

A detailed analysis of RACC’s finances this winter, coupled with conversations with staff and board, revealed that we have been supporting programs and projects that are unsustainable. A 2018 audit by the City of Portland, by far our largest funder, revealed a lack of alignment in our goals, and led some to voice uncertainties about the value we provide to the community. The audit paved the way for new levels of city oversight, and as RACC begins to negotiate a new three-year city contract, we have new expectations for stronger accountability, clearer outcomes and greater efficiency going forward. Surely ALL of our community partners want these things, too.

In response to all of these forces, but also looking ahead to achieving our greatest potential, we are charting a new course for RACC and I’m asking for your partnership moving forward.

As you’ll see in our press release, RACC is letting go of some programs and reinvesting resources in other initiatives with stronger impacts. We will continue all of our current grantmaking programs and public art projects, while sunsetting our workplace giving program and eliminating our community engagement program as a separate function of RACC – focusing on collective impact partnerships rather than having a stand-alone program in order to better support communities that have historically been marginalized and underserved.

One change that I am particularly excited about involves transferring all management of The Right Brain Initiative over to Young Audiences of Oregon and SW Washington, RACC’s implementation partner since the Initiative began. This expansion of Young Audiences’ role plays to the strengths of each organization, sustains our long-standing partnership, and ensures continuity for the students, teachers, artists, and schools that we serve.

Combined, these changes will help RACC simplify its operations and focus on what RACC is uniquely positioned to do – be a better advocate and bring more resources into greater Portland’s arts and culture ecosystem. Working on fewer projects means that our staff and board will be better able to support the communities we serve, with a stronger focus on access, customer service, equity, and collective impact.

These changes are not made lightly. We have had to let talented people go – and I am grateful to them for bringing their extraordinary passion and skills to work every day. I am also grateful to our staff, community and board members – past and present – who have all been truthful thought partners and advisors in making some very difficult decisions.

I welcome your feedback and questions as we move in this new direction together. Please reach out anytime at ed@racc.org.

Regional Arts & Culture Council and Young Audiences announce exciting partnership changes

Written by

We are excited to announce that management of The Right Brain Initiative is moving from The Regional Arts and Culture Council (RACC) to Young Audiences of Oregon & SW Washington (Young Audiences). This expansion of Young Audiences’ role will play to the strengths and expertise of each organization, sustain our long-standing and successful partnership, and ensure the continuity of the program for the students, teachers and schools that we serve. Both boards of directors support the changes.

Over many months we’ve worked together to review our partnership and get a clearer picture of each organization’s strengths, challenges and vision for the future. We both see this as a way of aligning mission with action. Young Audiences will focus on what they do best – providing the programs and services needed to bring together our community’s students and artists. RACC will continue its core grantmaking programs and public art projects, while expanding its advocacy and fundraising programs with a deeper focus on reaching underserved communities. These changes will help both organizations going forward into a new decade and we anticipate a smooth transition.

We are enormously proud of what we have accomplished together through the Right Brain Initiative since its launch over a decade ago and believe that the program’s next decade is just as bright. Young Audiences has been a key part of The Right Brain Initiative since its inception, and has been serving our region for more than 60 years, guided by the mission “to inspire young people and expand their learning through the arts.” The Right Brain Initiative aligns perfectly with that mission and Young Audiences looks forward to collaborating with students, educators, artists, families, advocates and supporters to ensure that the program continues to evolve to be responsive to our communities’ needs and to secure its sustainability.

The announcement comes after a year of planning led by RACC’s executive director, Madison Cario. Find out more about changes presented by Cario this week to community partners, city officials, board members and staff that will make the organization more fiscally sustainable and achieve RACC’s vision.

We are both looking forward to another great decade for The Right Brain Initiative!

Madison Cairo, Executive Director                 Cary Clarke, Executive Director
Regional Arts & Culture Council                     Young Audiences of Oregon & SW Washington

 

Upcoming Right Brain residencies scheduled at schools will proceed as planned. For questions about in-school programming or upcoming residencies scheduled in your school – contact Kim Strelchun (kstrelchun@therightbraininitiative.org) at Young Audiences. For questions and to learn more about the changes visit Young Audiences here.

but you already knew that

Written by

by Maya Vivas

As an artist, community member, and co-director of a small non-profit arts organization (Ori Gallery),  I’ve not only experienced what it’s like to navigate the Portland arts scene as a person holding multiple marginalized identities, but I am also a witness to what is prioritized, what is celebrated, and what is neglected. 

For nearly two years I’ve worked as an arts organizer at Ori Gallery, a collaborative project between myself, Leila Haile, and the Portland Community. We aim to uplift the voices of Trans and Queer Creatives of Color via art exhibitions, community organizing, and mobilization through the arts. Located in the heart of a gentrified neighborhood that was previously a Redlined area of town Ori Gallery is first and foremost about the reclamation of space and prioritizing the leadership of those most impacted by white supremacy, transphobia, and ableism. Our location here is significant because Mississippi/Albina area is historically black neighborhood and was once teeming with culture of black and brown Portlanders. As it stands right now, out of the 80+ that dwell on Mississippi Ave. the only black-owned spaces are Ori Gallery and the St Joseph Grand Lodge (founded in 1940). Ori Gallery has become an act of radical reclamation and a landmark in a city where working-class creatives of color struggle to make space for themselves.

Within the context of Oregon and Portland specifically, I see an extreme lack of representation by artists who depict the racial, gender and sexual diversity that exists here. Divestment, gentrification, and disenfranchisement have crippled our communities and within that, the cultural production that comes from that very struggle is often co-opted without due credit or compensation. This manifests in the continued struggle for studio space, the closing of smaller artist-run galleries, lack of opportunities and financial support. Most efforts to rectify the need for space feel as though it’s a little too late. The inertia of gentrification has already taken hold and the result is the continued prioritization of business over people. People who create culture. This leads to closures of DIY spaces that deserve just as much attention as any museum. If we seek to view Portland as a cultural hub there must be support for artist-run spaces that lend a platform to those most marginalized. I fear that if we continue down this path, we fail to support the next generation of creatives.

Support for artists means more than commissioning a mural in a gentrified area. Support means giving much-needed resources for the most marginalized artists to explore and develop their own practice. Those in positions of power must be careful to not repeat paternalistic practices and trust that artists know what they need and that they will, by nature, be the creators of culture. When speaking to my community I hear cries for more accessible ways to apply for and receive grants and other means of financial support. When support is given, often times this comes along with a deluge of bureaucracy. Which, for smaller organizations whose members often work multiple jobs to sustain themselves, gets in the way of doing the work or deters one from asking for help altogether. I hear calls for institutions to take the time to talk to people on an individual level and get to know the work up close and personal. For the organizations that do grant financial awards, there is much opportunity to strengthen community via serving as a bridge between grantees. Connecting them to create a cohort that can collaborate and mutually support one another. And to offer more assistance in navigating things such as taxes, accounting, and city bureaucracy. 

But we know this already. 

When asked to assess something so nebulous as the state of the arts in Portland it is really difficult for me to not come from a place of cynicism. It feels as though our repetitive, calls for resources and support, from the very institutions that claim to be civil servants, are being ignored. So we, as we have done since time and memorial, create our own spaces. Spaces where there is no need for an explanatory comma. I want to be hopeful. I want to live in a reality where my community feels celebrated and valued. This is why we do the work.

 

 

As part of RACC’s 2018 State of the Arts report to Portland City Council, three local creatives shared their experiences as artists and arts administrators in Portland. (You can watch their 2018 testimonies here.) This article was written as a current reflection to the “state of the arts” in Portland. What is their experience now? What makes them anxious? What makes them hopeful? What issues do they and/or their communities face as the city continues to change? What is their vision for the future? 

Other essays from this report can be read here 

Maya Vivas is a ceramic sculptor and performance artist based in Portland Oregon and co-founder of Ori Gallery. Whose mission is to redefine “the white cube” through amplifying the voices of Queer and Trans Artists of color, community organizing and mobilization through the arts.

The Unity Project: Unlocking Exploration in Our Foster Youth

Written by

by Taryn Sauer

When we invest in the creativity of our youth, we open doors to fundamental facets of learning and self-discovery. This is exactly what Color Outside the Lines has been involved in for almost a decade: harnessing creative expression in foster children and opportunity youth* as a way of connecting with themselves and their community. For Color Outside the Lines’ latest RACC-funded program, the Unity Project, they paired 24 youths with 24 Portland artists to create original works of art that will adorn the Burnside Rocket Building at 1111 E Burnside St.

Youth in artist’s studio for the Unity Project.

Sitting five stories high, this structure will be refreshed with hand-painted 4×6 panels showcasing unique images and stories from each collaborative pair’s creation. From a shared love of dragons and psychedelic colors to an iconic bison representing a foster youth’s Native American heritage, this large scale mural is as diverse as the partnerships who composed them. All of this was by design.  Color Outside the Lines Founder and Creative Director Anna Barlow, alongside Development Director Crystal Ramberg, interviewed dozens of local artists. They sought to connect each foster youth with an artist whose style matched their interests. As Barlow explained:

“When we found out a little boy was into heavy metal and skateboarding or a young girl who loved everything whimsical, we knew who to pair them with. We wanted these relationships to go beyond a teaching experience and see these partnerships grow.”

What began as a summer apprenticeship between local artists and foster youths blossomed into a mentorship between two creatives. Studio time became bonding time. As each pair’s paintings grew, so did their shared vision and strong sense of camaraderie. This could not be more true for nine-year-old D and her artist partner, Jennifer Gillia Cutshall whose joint mural panel is emblematic of the bonds formed through their creative expression. It was said their connection was instant. “D’s artistic spirit matched mine and we worked together well, allowing inspiration to flow freely between us,” Cutshall remembers. “We made decisions together and altered the initial design to mirror the symbolism that matched us as a team.”

Entitled “Lady Justice is the High Rise of Unity,” their painting combines Cutshall’s fascination of powerful empresses with D’s love of nature and animals. Peaceful doves became city pigeons, those often overlooked yet resilient birds. And as D danced around the studio and sang her favorite song, “Blackbirds” by the Beatles, she and Cutshall thought black birds should also grace their painting. “We used pigeons and blackbirds because people don’t usually notice them,” D noted. “The pigeons are the underdogs and the blackbirds symbolize freedom from oppression.”

D and artist Jennifer Gillia Cutshall painting the final touches on their piece.

All of this from nine-year-old D who entered into the project overflowing with enthusiasm. She couldn’t wait to get to the studio after school and paint alongside Cutsall. Over paint brushes and acrylics, talks about their days became conversations of inspiration and hope; discovering deeper connections in one another each session. During the process of Cutshall painting spruced up bird nests with soft grays and browns, she looked at D and realized, D is Lady Justice: “She is hope, possibility, and she possesses the triumphant spirit of a brave warrior.”

Cutshall asked D if she would be the model for their empress and D delightedly exclaimed, “Yes!” The apprentice became a muse and together they merged their creative ideas into one. Little by little, their painting revealed progressive nuances in their completed mural. Their Lady Justice, who is traditionally blindfolded, gazes out onto the city with the awareness of youth’s power to overcome and shape a future in equity and unity. The unyielding power in their message is translated in every brushstroke that grew stronger through their time together.

For Cutshall, this partnership was a win-win. When Ramberg tapped her for the Unity Project, she embraced the opportunity. To be able to possibly inspire a young person and witness their growth was all she hoped for, but what she received was far more than she expected.

“There’s a bond that happens when you create something,” Cutshall said with a smile. “It sort of fast paces the friendship or connection to the person. D probably brings that out in everyone. She’s a super great kid to just be around. I’m sure I’m not alone in connecting with her instantly and I’m just grateful to have experienced this with her.”

Once the Unity Project was complete, all artist pairs reunited on October 12th where art lovers and supporters gathered at the Red Ecotrust. The 24 murals were on display for all to enjoy as the young artists reflected upon their time spent together–a summer filled with warm days in a studio that came to feel more like their own; a season they won’t soon forget.

In early November, the Burnside Rocket will be enhanced with these mini murals for the entire city to see. As these young artists grow, memories of a summer spent in self-discovery and creativity will live on for many years to come.

As for the future, the Unity Project seeks to create more opportunities like this and the collaborative artworks are just the beginning. Through community partnerships, the next phase dives deeper into nurturing each participant’s interests by opening up more avenues of expression through dance, digital media, music, sculpture, and more. The possibilities for creativity are boundless. All they need is that first spark of connection.

 

*opportunity youth: This term seeks to reframe language around the depiction of “at-risk youths.” By developing new words to describe our young people who face unique life challenges, we can reshape the trajectory of their future.

—

Taryn Sauer is an industrious writer with a copyeditor’s eye and a poet’s hand. Her work has appeared in a variety of newspapers and culinary publications, but what she’s proudest of is the small press zine, Facade, she created with her friends to raise funds for Planned Parenthood. When she’s not writing, you can find her in the kitchen recreating her grandmother’s New Mexican recipes. Check out more of Taryn’s work here.

Introducing Giyen Kim, City Arts Program Manager

Written by

The City of Portland has hired Giyen Kim to serve as the new City Arts Program Manager.

With a public service career spanning nearly two decades, Giyen’s diverse background includes work in affordable housing, environmental conservation, policy development, homeless response, marketing and emergency management. She also brings a strong interest in the arts and a commitment to creating access to art in every part of the city.

Photo: Giyen Kim (right) and her daughter, Jaeeun. Jaeeun works at the Office of Arts and Culture in Seattle.

Photo: Giyen Kim (right) and her daughter, Jaeeun. Jaeeun works at the Office of Arts and Culture in Seattle.

Giyen’s passion for serving the community began at Capitol Hill Housing, where she oversaw the day-to-day management of the organization’s $100M affordable housing portfolio and increased access to housing by revising housing eligibility requirements that disproportionately impacted communities of color. In 2009, Giyen transitioned to the environmental sector as the Operations Director for Forterra, a nonprofit organization working to create a more sustainable future for all by securing and protecting hundreds of thousands of acres of urban, rural and wild spaces. There, she co-chaired the organization’s first conversation on diversity and equity, and later as Director of Marketing and Development, oversaw a rebranding effort which pivoted a traditional land conservancy into a regional organization that advocated for smart growth as an impetus for preserving of natural landscapes. She also organized Forterra’s first “Art and the Environment” series, connecting Forterra’s donors and stakeholders with local artists and makers.

Most recently, Giyen worked for the City of Seattle, where she was a Strategic Advisor for Seattle IT and a Business Analyst for Seattle Public Utilities. She also served as part of the Mayor’s homeless response team, where she coordinated interagency outreach and mitigation efforts. We asked Giyen a few questions to help introduce her to the local arts community.

 

RACC: Welcome to your new position! How are you approaching the role of City Arts Manager?

Giyen: I am approaching this role in the same way as I approach most things in my life—listen and be curious about people and how things work.

You recently moved here from Seattle, but you grew up on the Southern Oregon Coast and have lived in Portland before. Can you tell us a little bit about your observations of Portland, and how it compares to Seattle?

This is the most frequently asked question since I’ve moved here! Portland is a breathtaking city, and my observation of Portlanders is that they are exceedingly nice. People say good morning to strangers on the street—which doesn’t always happen in Seattle—and I enjoy connecting with neighbors this way.  Since it’s only been a few weeks, comparing the two cities is hard. What I will say is that while Portland and Seattle face such similar challenges around issues like affordability, gentrification, and homelessness—the approach to addressing them appears different. Part of it is having so many jurisdictions in one small geographic footprint and part of it is that the DNA of this region is to think outside the box.

How do you define “culture” and “the arts”?

I personally define “the arts” in the broadest sense—as vehicle to tell stories and as a means of creative self-expression. This could mean Bach’s Cello Suite No. 2 in D-Minor, as well as Humble by Kendrick Lamar.  I approach the definition of “culture” in the same broad way. Culture articulates a set of values and behaviors that evokes a sense of belonging for a community or subsection of a community. This is where I see art intersect with culture in a very powerful way. I can still remember when I saw the first painting of an Asian depicted in a modern everyday setting, instead of what’s typically displayed in museums. It made me weepy and emotional to see it. Seeing my story represented in a piece of modern art gave me a sense of place, safety and belonging.

That said, as the City Arts Manager, it’s not for me to define what arts and culture is to Portland. It’s my job to help facilitate the conversation and ensure that everyone is at the table to have that discussion.

Is there anything particular that you’re looking forward to doing in Portland?

I am really excited to see some public art. It’s silly, but I have a goal of seeing every piece in the City’s vast art collection!

What can you tell us about the city’s priorities for arts and culture in the next 6-12 months, and how you’ll be spending your first year.

My first year will be focused on developing relationships and understanding the priorities of the arts community and the metro region. I am not going assume strategies that have worked in Seattle, will work in Portland. There will be a period of outreach and getting to know this City’s vibrant arts culture and deepening my understanding of RACC’s vision and strategy.

I take my role as a steward of public dollars very seriously. I want to ensure that the residents of Portland are getting value from their investment and I want to figure out new ways that we can articulate how the City and RACC are supporting a more vibrant, innovative and inclusive arts and culture scene that accessible to all ages.

And of course, making progress on any outstanding audit items is a huge priority.

Many folks in the local arts community are eager to meet you. Where can they find you, how can they get ahold of you?

I am very eager to meet with the local arts community! Now that I’ve settled in, I am really looking forward to immersing myself in this special community and really understanding the opportunities that are out there. The best way to reach me is at giyen.kim@portlandoregon.gov. Let’s meet for coffee or a walk around your neighborhood.

 

Thank you, Giyen!