Royal Nebeker
Juror’s Statement
Project Space II
When I was asked to jury the exhibitions for Projects Space II, I was interested for a couple of reasons. First, I am acutely aware of the concept of place. I find it compelling to observe how artists are sensitive to their environment, the place they choose to live and work, or in some cases choose not to respond to it at all. I have always seen a fallacy in art by address and have thus preferred quality as a criteria rather than any arbitrary geographic limitation.
Secondly, I am excited by recent and growing trends away for the urban dominated art scene. I, like most artists, have never wanted the designation ‘provincial’. In times past, merely the decision not to live in one of the large population centers of the world has relegated one to a regional category. Things have changed. Clearly, technological progress and the information revolution have begun to put an end to any validity for such distinctions. Yet I am aware of the very real lingering prejudices and reluctance for change.
Salem is a particularly interesting case study because of its proximity to Portland’s historic dominance of Oregon culture. While my knowledge of Salem’s rich contribution to the visual arts made me optimistic, I was not prepared for the sheer quantity of high quality proposals received for Project Space II. I was certainly resigned in keeping with philosophical integrity, to choose a spare exhibition offering. I have never felt the mere existence of an exhibition space necessitated filling it. Without quality, art ceases to be art. Therefore it should be obvious from the large amount of work I deemed important enough to be shown this season, that even my positive expectation was exceeded.
The inclusion and rejection of Portland artists should send a signal that there is nothing regional or provincial about Project Space II. I was gratified to see artists addressing the theme of place and equally happy to find work speaking to concerns of a national or international nature. The number one criteria I used to make my decisions was the vision of the artist. I asked, “Does this artist bring significant contribution to the viewers experience?” I wanted work that was informed by personal vision worthy of the artist’s leadership role in society and I found it in spades.
Take time with these exhibits. You will be rewarded. There is treasure here.
Royal Nebeker
June 2009
Juror’s Statement
Project Space II
When I was asked to jury the exhibitions for Projects Space II, I was interested for a couple of reasons. First, I am acutely aware of the concept of place. I find it compelling to observe how artists are sensitive to their environment, the place they choose to live and work, or in some cases choose not to respond to it at all. I have always seen a fallacy in art by address and have thus preferred quality as a criteria rather than any arbitrary geographic limitation.
Secondly, I am excited by recent and growing trends away for the urban dominated art scene. I, like most artists, have never wanted the designation ‘provincial’. In times past, merely the decision not to live in one of the large population centers of the world has relegated one to a regional category. Things have changed. Clearly, technological progress and the information revolution have begun to put an end to any validity for such distinctions. Yet I am aware of the very real lingering prejudices and reluctance for change.
Salem is a particularly interesting case study because of its proximity to Portland’s historic dominance of Oregon culture. While my knowledge of Salem’s rich contribution to the visual arts made me optimistic, I was not prepared for the sheer quantity of high quality proposals received for Project Space II. I was certainly resigned in keeping with philosophical integrity, to choose a spare exhibition offering. I have never felt the mere existence of an exhibition space necessitated filling it. Without quality, art ceases to be art. Therefore it should be obvious from the large amount of work I deemed important enough to be shown this season, that even my positive expectation was exceeded.
The inclusion and rejection of Portland artists should send a signal that there is nothing regional or provincial about Project Space II. I was gratified to see artists addressing the theme of place and equally happy to find work speaking to concerns of a national or international nature. The number one criteria I used to make my decisions was the vision of the artist. I asked, “Does this artist bring significant contribution to the viewers experience?” I wanted work that was informed by personal vision worthy of the artist’s leadership role in society and I found it in spades.
Take time with these exhibits. You will be rewarded. There is treasure here.
Royal Nebeker
June 2009
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