’Tis the Season for Group Art Shows


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Dylan Beckman’s Confection, from ILY2’s group show I am a City of Bones

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For an artist, mounting a show in the last days of the year is the art world equivalent of a late-December birthday: there’s lots of other stuff going on, and attention can feel cursory, or worse, your die-hard fans have decamped to somewhere warm and forgotten altogether.

Enter the end-of-year group show. There’s no hiding that this is something of a compromise for artists. But a group engagement also presents them opportunities to show that are otherwise impossible. Maybe an artist has a few pieces that don’t fit into a cohesive body of work; maybe they’re committed to a show out of town this year, and thus not showing locally. Maybe they’re represented by one gallery but are free to toss a painting or two into a group show across town. 

Gloriously, the attention at a group show is spread around: it’s nobody’s party because it’s everybody’s party. The highs balance the lows and you’re guaranteed (hopefully) to be presented with something you didn’t know you needed. This year’s group show scene offers a healthy mix of all of this, including a show focused on the narrative elements of garment making, and one that wholly eschews any title or unifying concept. 

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Lori Damiano’s Rooster Tail, from Chefas Projects’s group show Looking & Seeing

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Looking & Seeing

Opens 5–8 p.m. Dec 1; on thru Dec 31 | Chefas Projects

Nathan McKee and Ryan Bubnis’s In Plane Sight, a show in Chef Projects’ main gallery, seeks to elevate everyday objects by paying them unusual attention in paintings and paper cutouts. Accompanying the show is Looking & Seeing, a sidecar show with a similar focus, curated by McKee and Bubnis, of works from four local artists—Brianna Spencer, Erik Railton, Lori Damiano, and Violet Aveline. Everyone involved shares a history in skateboarding. “Skate eyes” is the term they coined to articulate the unique vision—a unifying, subcultural point of view—that comes with having spent years viewing the world through the lens of a skateboarder.

Cloth, Construct, Culture; fashion builds a story

On thru Jan 24 | Parallax Art Center

Parallax is looking to fashion to close out the year. Garments are one of the many creative endeavors that live at the intersection of art and craft, with many designers choosing to go in both directions, often simultaneously. This show, curated by Rhonda P. Hill, a fashion analyst and advocate for equality within the industry, chooses to highlight the conscious decision to make art from clothes. Showcasing the work of nine international designers (Kyle Denman, Isabella Diorio, Korina Emmerich, Karen Glass, Alena Kalana, Ruree Lee, Maital Levitan, Abiola Onabule, and Yun Qu), Cloth, Construct, Culture highlights narrative within fashion design as a force of cultural influence, an art form capable of affecting change.

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Pace Taylor’s venus as a boy, from ILY2’s group show I am a City of Bones

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I am a City of Bones

On thru Jan 13 | ILY2

The experimental Pearl District gallery ILY2 assembled works from 10 artists around the word “body”: which contexts do we appropriate the word for, and how do they stretch our relationship to our own literal bodies? Portland’s Pace Taylor, who has an upcoming solo show across town at Nationale in January, is showing two new works whose intimate pastel portraits capture intensely human emotions across gender, sexuality, and neurodivergent stories. The Charleston, South Carolina–based photographer Dylan Beckman is showing several works from her Ersatz Goods series, which probes at the fraught dialectic between replication and authenticity.

Holiday Group Exhibition

Opens 5–7 p.m. Thu, Dec 7; on thru Dec 23 | Russo Lee Gallery

The holiday party approach at Russo Lee serves up art from its roster of 42 artists spanning painting, sculpture, and works on paper. That roster includes everyone from Portland painter Julian Gaines, known for depicting scenes of Black history and modern culture, to the Washington-based ceramic artist Richard Notkin, whose often politically-engaged, incredibly detailed sculptures are in the permanent collections of both the MET and the Smithsonian. There’s no telling what will make it into the show, which is kind of the fun of it.


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