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Hanging Out in Frame Land at Central Art Supply

Central Art Supply logo

541.773.1444   101 N. Central Ave., Medford, Oregon 97501
MON-FRI: 10-6 | SAT: 10-5

How’s it hanging?

Welcome to “Hanging Out in FrameLand,” a monthly look behind-the-scenes into Central Art’s Custom Framing department!

In this new regular monthly feature, we’ll be giving you a closer look at the inner workings of our frame building shop – showcasing the work of our talented team of professional framers, Alex, Jon and Dan – as well as answering your custom framing questions, tips on selecting the various components to house your art during the design process, industry highlights and more!

But first, let us introduce the expert team of individuals who are responsible for bringing your art full circle and ready to be proudly displayed!

Meet our Framing Posse:

Alex Fisher (Framer)Alex began his framing tenure at Central Art under the guidance and training of his aunt, Peggy Bulebar.During his time here, Alex has amassed more than 8 years of experience and knowledge helping customers one-on-one to design the perfect compliment to the art that will hang in their homes, gallery shows and public spaces. Holding his work to a very high standard, Alex brings a competitive edge to Central Art’s reputation for excellence in custom framing. Jonathan Alim (Framer)Jon has been a fixture at Central Art with over 18 years of framing experience, building all manner of projects, including trickier and oversize frames.He received his BFA from Southern Oregon University in 2004, and is an avid printmaker when he’s not joining corners and cutting mats.Jon’s meticulous attention to detail is a key ingredient in the success of Central Art’s Custom Framing department, and his love of the work is evident in the end product.
Dan Ebert (Owner/Framer)Prior to inheriting Central Art from his father George, Dan bought the next door frame shop, The Bevel Works, in October of 1987. Later the frame shop moved downstairs and adopted the Central Art name.Among the many other hats he wears, Dan is a 27-year veteran of custom framing with a wealth of knowledge and experience to add to the great team that turns your art into a real showstopper! At Central Art, we not only believe in a job well done – we think it should be a celebrated, dressed-up occasion!What better way to showcase your artwork, photos or sports memorabilia than with a frame that’s been carefully selected to perfectly compliment that signature moment?


Find Out More, and keep up-to-date on the latest from our Custom Framing shop by clicking HERE.

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541.773.1444   MON-FRI: 10-6 | SAT: 10-5

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Reception on Feb. 5 for the member’s show at Mill Art Center in Honeoye Falls. My friends Jean and Bill Stephens and many others will be exhibiting work. It’s another great place to find interesting work from regional artists.

The post Blue appeared first on represent.

The "is" in this

All the swallows sing of sky,

& I try to wintry listen

to the is of this

the is in this. 

Year of the Rabbit

Happy Lunar New Year! It’s the Year of the Rabbit! From most accounts I’ve read, the rabbit symbolizes peace, hope, tranquility, beauty and grace. Or…a calmer, more gentler year. This is the year that we are supposed to enjoy relaxation & contemplation.

I like this calendar holiday as I’ve always felt January 1st is too close to Christmas…how do you jump from fruitcake to treadmill so fast? You need to ease in. So here we go…a second chance at a fresh start to 2023.

Wishing everyone peace, tranquility and easy days ahead.

“Le Lapin” 10×10″

SOSA January News

Southern Oregon Society of Artists (SOSA) January 2023 Newsletter

AGA January Art Opportunities

Ashland Gallery Association logo AGA

Ashland Galleries
January Visual Arts News
January = Art Opportunities

We’re excited to share a handful of fun and diverse art opportunities that are being offered this month to foster your inner creativity. 

Jenay Elder, Oranges in Sunlight, Acrylic on Canvas
Jenay Elder, Oranges in Sunlight, Acrylic on Canvas

Art & Soul Ashland
Backlit Citrus Paint Night with Jenay Elder
Friday, January 20, 5:00 p.m. – 7:00 p.m.

Join Art & Soul Ashland and Jenay Elder to learn more about acrylic painting techniques while referencing brightly lit citrus. Best known for her textured notes of color, representational quality, and sensitive subject matter, Jenay has developed a sharp eye for depicting subjects that instill insight and familiarity. Registration includes materials, wine, and refreshments. 

For those who are interested in participating, please click here for more information. 

Dennis McNett, Good Medicine, Woodblock Print
Dennis McNett, Good Medicine, Woodblock Print

Schneider Museum of Art
Saturday Salon: Pushing the Press
Saturday, January 21, 11:00 a.m. – 1:30 p.m.

Join the Schneider Museum of Art, Executive Director Scott Malbaurn, Curator Josef Zimmerman, and Featured Artists Kathryn Polk and Dennis McNett for a private tour of Pushing the Press: Contemporary Printers Redefining the Medium. Following the tour will be an intimate brunch with the opportunity to have lively conversations with both the curator and artists.

For those who are interested in attending, please click here for more information. 

Grants Pass Museum of Art, Untitled, Graphite
Grants Pass Museum of Art, Untitled, Graphite

Grants Pass Museum of Art
Drawing and Composition with Kristen O’Neill
Saturday, January 28, 1:00 p.m. – 4:00 p.m.

Join the Grants Pass Museum of Art and Kristen O’Neill to learn more about the basic fundamentals to create a strong composition. Using graphite tools and drawing from a simple scene, individuals will learn how to create a range of values while reviewing the principals of design. 

For those who are interested in participating, please click here for more information.

Fiber Arts Collective, Untitled, Mixed Media
Fiber Arts Collective, Untitled, Mixed Media

Fiber Arts Collective
Art Supply Swap!
Sunday, January 29, 2:00 p.m. – 4:00 p.m.

Join Fiber Arts Collective for an Art Supply Swap! Artists are encouraged to bring one to five items that they would like to trade in exchange for other items. All supplies should be in good and usable condition. 

For those who are interested in attending, please click here for more information. 

Vanessa Jo Bahr at Central Art Gallery

Central Art Supply logo

541.773.1444   101 N. Central Ave., Medford, Oregon 97501
MON-FRI: 10-6 | SAT: 10-5

January Art Show at Central Art Gallery Featuring: Vanessa Jo Bahr
During Medford’s 3rd Friday Art Walk January 20th, 2023 5-8pm

Central Art Gallery announces its January 2023 “3rd Friday” Art Show, spotlighting the works of Vanessa Jo Bahr.

The show is titled “Next of Kin.”

The opening reception will be from 5-8pm during Medford’s Art Walk Friday, January 20th. Exhibition will be on display through 02/8/23. Central Art Gallery is located in downtown Medford at 101 N. Central.

Fri. 01/20 5-8pm – Art Walk (exhibition)

*Exhibit on display through 02/8/23*

“My work exists as an invitation for viewers to examine their ecological interactions and relationships. I aspire to evoke deep reverence for the inherent connection with our plant and animal kin before they fade into distant memories due to human negligence. I create art as a form of activism and land stewardship that fosters mutualism and intimacy facilitated through the reciprocal act of printmaking. My work embraces collective experiences of life and death that promote sustainability while honoring the natural cycles of growth, decay and regeneration.

My most recent work exposes my ritualized obsession with collecting, organizing, illustrating and rearranging my personal archive of found artifacts. The time spent harvesting and working with natural materials bonds me with local ecologies. By reproducing these reclaimed remains in copper, I immortalize and perpetuate their existence through replication via the art of printmaking. A renewal of kinship with our cohabitants is necessary for our shared futures to endure.”

– from Artist’s statement

To see more of Vanessa’s art, you can visit her website here or follow her on Instagram here
For more information about Central Art Gallery’s Featured Artist, visit 

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Joshua Huyser

Stocking Cap, Joshua Huyser

Another wonderful painting by Joshua Huyser, from Instagram.

The post Joshua Huyser appeared first on represent.

Mika Salamon

Still Life in Turquoise, Mika Salamon

I’m fascinated by painters associated with the Jerusalem Studio School who are taking perceptual painting in a lush, sensuous direction, with a luxuriant sense of color. I’m loving what they do with limited but rich palettes. Salamon’s work takes that esthetic to an extreme simplicity.

The post Mika Salamon appeared first on represent.

Viridian’s juried show

“Rocinha Series 3 No 1”, Alan Garry, 32 x 32, Oil and graphite on canvas

Before I get to my impressions of the juried show currently on view at Viridian Artists, allow me a digression about the location depicted above in one of the exhibition’s paintings.

On a visit to Fiji, my son reported back to me that he found there the poorest and happiest people he’d ever met. I was reminded of that brief report (which included first-person details about indigenous volleyball) when I looked up Rocinha, a famous, densely-populated favela that evolved organically and spontaneously near Rio de Janeiro. It’s occupied by those who can’t afford to live in the more expensive, planned urban areas of the city. It’s a borough scaled for human beings, growing and developing virtually without urban regulation or oversight, with a self-organized, makeshift structure, improvised and wildly colorful. It’s a libertarian’s nightmare that seems to be trying to grow into a libertarian’s dream. The population is packed into tight spaces, structures rarely rising beyond three floors. Nothing looms over anything else there except the upper reaches of the steep hillside on which everything higher up is the same size as everything lower down.

Close to a quarter million people now live in Rocinha, and they get around mostly by foot on a few roads and alleys and paths that snake through the place. As Rio has grown, it has enveloped this encampment that has been crystallizing into a suburban town, now that it’s centrally located. (In a way, the economic mountain came to Mohammad and surrounded him.) It is becoming more modernized so that almost all structures now have plumbing, electricity and sanitation.

From Wikipedia:

Compared to simple shanty towns or slums, Rocinha has a better developed infrastructure and hundreds of businesses such as banks, medicine stores, bus routes, cable television, including locally based channel TV ROC (TV Rocinha), and, at one time, a McDonald’s franchise.[2] These factors help classify Rocinha as a favela bairro, or favela neighborhood.

It’s the urban equivalent of an outlaw entrepreneur, someone more interested in growth than legality. The name Rocinha means “little farm.” This mid-sized city sits on a hillside that has been the backdrop for various productions like Rio and Children of Men. As in Mexico, tourists to balance its attractions against the chance of being collateral damage in a gang battle. I found a great portrait of the daily life there in a little free-form essay, picturing a culture of vibrant struggle—on the cusp between squalor and organized growth, marginalization and creative vitality, legal and illegal. It sounds like a more violent and darker version of Steinbeck’s Cannery Row:

Brazilian culture is happy: multicultural artistic expressions, music, dance, jokes and spontaneity. Meetings on street corners, children playing in the street and parties with music on the squares are all ubiquitous. That is life in Rocinha. People hardly have private space and share the small amount of public space available.

Few people drive a car. Most people walk or take buses, vans or motor taxis.

In less than a square kilometer, you can do your shopping, fix a motorcycle, find a barbershop, buy food, pick up a video, and go to the church or the gym. None of these establishments exceed eight meters of street façade, some occupy only one. Commerce and services are mixed with housing, which primarily occupies floors above the street level. Around 6 o’clock in the afternoon, the neighborhood looks like a shopping mall corridor during the days before Christmas. It’s on the street that old friends meet and the community issues are discussed. Rocinha, like the thousands of other slum areas throughout the world, reveals miserable, inhumane conditions, including poverty, crime and filth at the one hand, and urban vitality among the people and in the streets on the other.

That last part also sounds like the visible homelessness surrounded by high-priced real estate in midtown New York City during the pandemic, as well as some famous West Coast cities now.

I learned all this in order to get a more informed look at a painting included in Viridian Artists’ annual juried show, running through Jan. 28. The exhibition is unusually interesting, but in ways that aren’t sensational. There are small, seemingly minor paintings that stood out for me, work that seems above and beyond whatever else I could find by that artist online. Much of this work is humble but assured and holds the viewer’s attention. I was a member at Viridian a decade ago and had one of my few solo shows there, and I don’t recall seeing work this consistently quietly interesting, as a whole, assembled there in the past.

The entry that inspired me: “Rocinha Series 3 No 1” by Alan Garry. It’s a drone’s eye view of the slum-cum-McDonald’s/drug cartel service region. It works as a geometric abstraction that resolves into a realistic image in seconds as you gaze at it and then recognize the gauzy tree in the lower corner. At that point, everything else sharpens into view and the little dots appear to be caps on smokestacks as the squares become roofs. What seemed to be little boxes afloat on a stream, collected into an eddy near shore, now become randomly arranged homes with almost no space between one and the next. At first, there’s an impersonal anonymity to the image that reflects the poverty, the numberless lives that come and go, unrecognized, beneath the roofs. Yet the energy of the image (it reminded me a bit of Mondrian’s Broadway Boogie Woogie without all his negative space) you sense you are observing a bustling human community from on high. From the air, it seems somehow inviting and beautiful, lively by virtue of the obviously haphazard way in which it has grown upward and outward from the cramped, snaking paths that run through it.

Other work that stands out: Faux Relic: Humble Things is a diminutive fantasia of insects, ferns, trees and skunk cabbage, a scene fit for the imagination of Durer or Burchfield but looking more like an illustration for Lewis Carroll. It’s illuminated by a hazy light that emanates from a distant horizon behind the big bumblebee floating up from the foliage. The oil-on-linen painting is contained in a frame as intricate as a reliquary, seemingly hand-carved and gilded, adding significantly to the mood of the little painting, where the subject seems less about nature than the state of mind required to dream about nature.  Much has been written about the loss of enchantment in the past century, but this painting does a good job of making it visible again. The frame is an integral part of the image as it is with Howard Hodgkins, though the painting here isn’t extended outward onto the painting with the exception of a cameo image of a bullfrog mounted in the lower frame, like a medallion. It’s a dreamy, eccentric, deeply personal and idiosyncratic piece of work by Kei J. Constantinov.

Another small, extremely modest abstraction, Water Music, by Stephanie Lempres, has the charm of a miniature Milton Avery, a scene assembled with seemingly torn areas of subtle color, mostly gray, yellow and pink. The pink area rules the upper half of the image like a sunset. Brown and gray shards fit together loosely into a patchwork of dunes or hills surrounding a bright yellow path or road that disappears into the distance past a wedge of green, a little wooded valley fed by the watershed from the hills maybe. It’s understated, implying more than it shows, doing just enough to set up the color harmonies and make it all come alive with a hopeful sense of ambient afternoon or morning light, all of it achieved with the simplest, almost childlike collage of flat organic shapes, one spot of color next to another, as Hawthorne put it.

Pen and Alejo, Emily Fisher’s archival inket print of her photographic portrait of a blond child more or less holding hands with his rooster brings to mind Sally Mann and Emmet Gowin’s haunting images of childhood, but in a more formally posed setting. It’s also more colorful and direct, but just as arresting, the rooster’s red crop set against the complementary green background. The juxtaposition of the child’s naked and vulnerable chest against the bird’s full plumage and pointed beak creates a play of opposites that work off the dominant red/green color.

There’s much other work in the show to justify a visit to the gallery, located with a number of other artist-funded galleries that often present intriguing juried exhbitions every year in the same location, at the north end of Chelsea, where Hudson Yards begins.


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