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Create Art & Celebrate Diversity- Community Art Contest

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As part of our celebration of the fair’s 25th anniversary Sept. 29, 2018, Central Art and the fair are hosting a community art contest.

Consider submitting artwork with the theme “diversity” for the chance to display your artwork at the fair and win prizes!

Contest rules
Artwork will be judged on creativity, style and how well the artwork reflects the contest theme.
Artist may use any medium/format desired (black and white, color, pencil sketch, painting, ink, photograph, etc.).
Artwork must be an original creation, no prints.
Artwork must be created within the past year.
Artwork must be family friendly for viewing by people of all ages, gender, culture and race. Our intent is to emphasize equity, diversity and inclusion.
Artwork must be flat and not exceed 11” x 14” in size.
There is no entry fee. Limit 1 entry per person.
Artwork must be submitted with completed entry form by 4 pm, Friday, August 31, 2018 to Central Art, 101 North Central Ave, Medford.

The selection committee will announce winners at the Greater Medford Multicultural Fair on Saturday, September 29, 2018 at noon.

Immediately after the fair, all artwork will be at Central Art, 101 North Central Ave., for pick up. Artists must pick up their art at Central Art by 4 pm, Tuesday, October 16. It may be disposed of after that date.

Entry forms are available on the Greater Medford Multicultural Fair Facebook page

Prizes: First place winners and honorable mention winners will be selected from age groups: 8 and under, 9-13, 14-17, and 18 and up. Judges will select a winner and honorable mention for each category. The decisions of the judges are final.
1st Prize – $30 Gift Card to Central Art of Medford
Honorable Mention – $15 Gift Card to Central Art of Medford

Thank you for supporting the fair by participating in our art contest!
Download full rules and the application form here:
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Incredible After & Before Street Art Transformations

“Knowledge Speaks – Wisdom Listens,” Athens, Greece 

After and Before

Wild Drawing

“Juliette Et Les Esprits,” Montpellier, France 

After and Before

Patrick Commecy

3D Mural In Poznan, Poland

After and Before

Waldemar Wylegalski  

“Renaissance,” Le Puy en Velay, France

After and Before
Giant Starling Mural In Berlin, Germany
After and Before
Nika Kramer
“Au Fil De Loire,” Brives Charensac, France
After and Before

Patrick Commecy 

Photorealistic Mural, Glasgow, Scotland 

After and Before


Full Moon Hostel, Bristol, UK 

After and Before

Paul Green

“Topart,” Budapest, Hungary 

After and Before


“Porte Des Lavandières,” Aurec Sur Loire, France

After and Before
Patrick Commecy

Be sure to SHARE this incredible art with friends

It takes courage. Really. Quit laughing.

kurtI found myself lingering quite a while last night at State of the Street-ishan exhibit of street-inspired art at Rochester Contemporary Art Center, in partnership with the Memorial Art Gallery. It’s taken me far too long to get a look at Kurt Ketchum’s work, and I was even more impressed by it than I expected to be. Kurt’s paintings suggests graffiti in a tangential way, yet it’s street-ish because it conveys a sense that the objects he creates are almost ready-made segments of old city walls, covered with vestiges of posters, glue, weathered paint, and the scrawls of urban guerrillas armed with spray paint. The work requires time: you need to adjust to the visual language he’s developed, but the longer you look, the more the paintings draw you in and open up.

I’ve known Kurt for a long time.  I was surprised that the show brought to mind what at first seemed an entirely random set of memories from a 90′s weekend I spent with him and a couple other friends, John Buck and Tom Curtin. The four of us golfed almost non-stop for two days in North Carolina on courses in and around Pinehurst. It was 36 holes a day. One of those marathons. The results were mixed from one round to another, but at one of the courses we played, you could rent a llama for a caddy. (I wish I had a llama story, but we  declined them. Doh! Big hitter, the Lama. Long, into a ten-thousand foot crevasse . . . oh right, wrong Lama.) On the last day, we showed up in the morning mist, sleepy, dizzy, hungover and, frankly, intimidated by the first tee at a course called The Pit. It was a gnarly, sadistic path through a former sand quarry, with dramatic elevations and vertiginous drops, designed to induce despair with its tiny greens, overgrown chasms, and wild cart rides through twisty terrain. Each tee box was marked using old hardware from the rails that had carried loads of sand from the now-abandoned quarry: screws, spikes, half-rail anchors and rail anchors. Let’s play from the screw tees, one of us said, surrendering to the gallows humor induced by even a casual glance at this course. The screw tees were The Pit’s equivalent to the black on any other course, the longest from the hole and, of course, the hardest. We had a disheartening front nine, and yet we didn’t give up. On the tenth hole, it all changed. We settled down. We woke up. And somehow we actually played well on the back. It was one of the most gratifying rounds I’ve ever enjoyed, mostly because we simply kept going despite the punishment and humiliation of the front nine, and the crazy challenges of each hole. Nearly every shot induced a fear of the peculiar despair only golf can induce, and the doglegs brought dread of what new, crazy hazard might await around a bend. All the while, it seemed your ball could disappear into water, woods, sand, or, well, something like a crevasse. I still have that score card on a shelf in my studio, with those tallies in the lower forties on the back, scrawled in pencil. When a foursome of bogie golfers shoots better than its average, or thereabouts, on nine holes at The Pit, you don’t let go of the evidence.

Kurt’s paintings are each like that scorecard. Golf and painting are both about the necessity of hope and the likelihood of despair. With every one of Kurt’s paintings, he’s fought his way toward a win: I didn’t see a losing round anywhere in what he’s showing at RoCo. Each painting serves as proof of his ability to scrape, roll, scratch, stroke and draw his way toward an image that’s never clear to him until he discovers it. And it’s less an image than an indeterminate field of energy coagulating into weathered-looking patches of paint that hold shreds of definite forms. This is the sort of painting you have to keep relearning how to do with each work, which means it takes courage. He’s updating the heart of abstract expressionist improvisation with his own visual vocabulary of airy, taut, looping lines and fragments of a tipped-over and reversed alphabet. Is that a K? Is that a C or a U? It’s never clear what you seem to be seeing. He conveys so much motion that it’s hard not to feel the image changes a little whenever you aren’t looking. He works within extremely tight restrictions: every one of the pieces is essentially a shallow square box, the paint adhering to an unprimed wooden panel, about four feet by four feet in height and width, mounted on a cradle probably four inches deep. Each one sticks out from the wall to such a degree that it almost appears he grabbed a dozen shipping pallets for a few bucks in some garage and went to town with them for six months. They’re marked, scored, cracked in places, riddled with nails and a few screws, engraved naturally with the wood grain that shows through, the sides left raw, so that you see the layers of lamination in the plywood, when that’s what he’s working on. There’s even a little square of blue masking tape—like a postage stamp—stuck in the upper corner of one. These are highly finished pieces, intensely labored, earned, and yet they have the aura of being provisional, maybe abandoned just in time, still breathing. Maybe they keep growing into something else after he walks away from them. You move from one to the next, feeling as if he kept trying to do the same thing again and again, succeeding every time, but in a way he couldn’t have predicted.

Those who don’t paint or golf will probably laugh at the suggestion that it takes courage to do either. Caddy Shack isn’t exactly Saving Private Ryan. Neither is Pollock. What’s really at stake, right? Try it and see. Rick Harrington and I have had many conversations about how much painting resembles a physical sport: there’s the same need to get out of your mind, to tap your subconscious abilities, and to overcome the dread and gloom that accompany a bad day of it. Riding a motorcycle is a demonstrably dangerous thing to do, yet I’m never afraid when I do it. Alert, yes. Refreshingly apprehensive, yes. Afraid? No. Until I spot a deer heading toward the road, anyway. When I golf, or paint, there’s a little pang of fear lurking around every stroke. It’s the fear of not being able to get your body to do something you thought you knew how to do. It’s fundamentally humiliating, discouraging, depressing . . . and you fear the notion that you’ve invested four hours, four days, four weeks into something that can just turn ugly in a way that makes you simply give up. With painting, it’s the fear that you can’t do what it is that gives meaning to your life. You can choose to do it in a way that’s easily repeatable and sells, the safe way, or you can take chances and find fruitfully risky ways to discover images that are as fresh and surprising to you as they are to someone else. Which means to always be trying to do what you don’t quite know how to do–to push through that moment when you can’t figure out what the painting needs. I won’t laugh and say Kurt was in that mode on the golf course (we’re all in that mode because you can’t retain a good golf swing in your head, you have to keep finding it). But it’s high praise to say he seems to be braver than most whenever he starts a new painting. All of which is to say I’ve got evidence of Kurt’s courage in pencil on a card here at home, and there’s more of it, in paint, down at RoCo.

With this show, he’s sharing space with some interesting and even distinguished company. Craig Colorusso’s solar-powered sound installation creates a unique alpha-wave ambience as you walk from room to room: a video shows how he sets up his speakers almost anywhere to create a moment never to be repeated. Irvin Climaco Morazan’s “cheesedoodle headdress” hangs from the ceiling, a humorous and, to be honest, slight disquieting piece of headgear, with jars full of orange cheese snacks for eyes. Yes, it made me hungry. It’s part of a costume for Morazon’s street performances that mash up shamanistic ritual with contemporary culture. A video of his work loops on a wall near the entry.

Foremost among the exhibitors is Karlos Carcamo, a Beacon artist whose elegant work has been cited by both Roberta Smith and Holland Cotter. Carcamo marries remnants of graffiti tags with rectangular grids of extremely subtle color: offering glimpses of the spray-can’s cursive energy between and behind the grids. Everything floats. The hints of graffiti art seem to recede to a middle depth behind the grids and in front of the wall, making the flat angular rectangles of subtle hues project toward the viewer. The support itself seems to levitate—a sheet of canvas wrapped around a pair of panels designed so that they come to a pointed edge hovering an inch or more away from the wall. His work integrates the disobedient energy of street art with comparatively refined modernist conventions from half a century ago—it suggests AbEx gestural work paired with the minimalism that arose in reaction to it a decade later. His assiduous attention to the quality of his paint gives the work a chill perfectionism. The grids are smoothly applied in uniform layers of color, while the graffiti sweeps in misty arcs behind it, as finely rendered as fog in a Chinese scroll painting. What I like most is the marriage of opposites in this work—the impromptu feel of graffiti fused into the meditative, calm geometry of designer color. As a whole, these paintings convey a sense of taste Clement Greenberg would have admired, yet there’s an ironic appreciative smile behind the cool facade. If you look at his whole output, you’ll recognize how much he relies on a dialectical tension between high and low, what’s in and what’s out, what’s hip and what isn’t. On his home page, you’re greeted by a work that could almost be a logo for what was most vital in 70s pop culture: a pair of hipster sneakers hanging from a ceiling with soles done up as if they were the underside of a disco mirror ball. He merges the now-laughable Saturday Night Fever glitz of dance clubs from 1976 with the hiphop genre that emerged directly out of it and now has become the major tributary of current mainstream pop culture. Yet he’s making an interesting point as he quietly, cleverly characterizes an era. In one stroke, with that lurking benevolent smile, he’s pasted together a humble, witty symbol of both disco and the hiphop it jump-started—pointing out how disco gave birth to the movement that walked all over it. High and low, in and out, impulsive and precise, gestural and geometric—he resolves his opposites in an almost serene reflection on them that suggest generously (and beautifully) that, hey, guess what, we’re all in this together.

MOCAtv Series Features Palestinian Street Art


Global Street Art, the newest MOCAtv series to hit YouTube, turns to the world of Palestinian graffiti in its latest episode. Featuring the work of artists Hafez Omar, Areej Mawasi, Majd Abdel Hamid and Hamza Abu Ayash, the five-minute clip explores the use of street art as a means of communication in Ramallah, the de facto capital of the Palestinian Authority, and beyond.

The street artists take turns explaining their own struggles with freedom of expression and how the expanding medium has helped them to establish their political beliefs and showcase their artistic talents in the public realm.

“In the first Intifada it was more about conveying political messages than being aesthetically pleasing,” says artist Hafez Omar. “Today, however, there is more aesthetic quality to the murals.”

Watch the video above and let us know what you think of the shift in the Palestinian street art movement in the comments. Want more? Check out last week’s episode on Libya’s graffiti scene here.

Read the original post at Huffington Post Arts for a great slideshow of Palestinian street art.


Teen Art Studio at RGAC!









Teen Art Studios- Fall 2012

Ages 13-17   Taught by Brooke Nuckles Gentekos

Two session to choose from or sign- up for both! (Each session will be unique and suitable for teen artists of all skill levels.

 Session 1: Tuesdays, 5-7 pm: Sept.  18, 25, Oct. 2, 9 Please Register Early! Each session: $70 members/$85 non- members 

 Session 2: Tuesdays, 5-7 pm: Oct. 23, 30, Nov. 6, 13                                                 

Beginners to experienced teen artists will draw, paint, sculpt and experiment with personal expression through art.  Be inspired by contemporary art and artists and be bold as you create original works of art! Register for one or both  sessions- each class will be a unique and fun  experience specially designed for creative teens!

The Rogue Gallery & Art Center provides quality art education to inspire and build life-long interest in the arts. Classes are taught by experienced artist educators in our professional art studio and high-quality art  materials are provided to youth to create  their art.

Discounts and partial scholarships are available! Register online:

Rogue Gallery & Art Center 40 S. Bartlett Street, Medford, OR 97501 (541)772-8118


Summer Art Classes for Adults and Summer Art Camps for Youth at Rogue Gallery & Art Center!

Ignite the Mind, Stir the Soul, Open the Heart- Boldly Create!





The Rogue Gallery & Art Center is offering a variety of inspirational art classes & workshops for adults this summer!

For youth ages 4-7, 7-12 and 13-17, please check out our summer art camps.

Please visit our website: for detailed class descriptions and to register. For more information, please call (541)772-8118, email [email protected] or stop by 40 South Bartlett Street in Medford, OR.


Adult Summer Art Opportunities at RGAC:

May 19, 12-3pm: Ikebana: The Art of Japanese Flower Arrangement- Barbara Longhurst

June 15-16, 5-8pm & 9am-12pm: Paste Paper Art Bookmaking- Denise Kester

June 23-24, 10am-4pm: Encaustic: Experiment in Layers & Creativity- Cathy Valentine

July 1, 8, 15, 22, 29, Sundays, 1-5pm: Oil Painting Basics- Roni Marsh

July 6, 1-5pm: Basketry: Japanese Gourd-Style Basket- Donna Sakamoto Crispin





July 7, 9am-4pm: Basketry: Reed Market Basket- Donna Sakamoto Crispin

July 28, August 4-5, 1-4, 1-4, 1-5pm: Intro to Sculpture- David Turner

August 10, 17, 24, 6-9pm: Art Interplay & Spatial Synergy: my chair, my space- Marilyn Michele Kunkel

PLEASE REGISTER EARLY! In order for us to hold a class or workshop, we must meet the predetermined minimum enrollment requirement one week prior to the first class or workshop meeting. If we do not meet the minimum enrollment, the class or workshop will be cancelled due to low enrollment.


MEMBER DISCOUNTS and PARTIAL SCHOLARSHIPS ARE AVAILABLE! Call (541)772-8118 ext. 301 for more information.



Summer Art Camps are designed to nurture creativity and youth ages 4-17 will have fun, explore, and learn foundational art skills. Each camp is taught by an experienced artist educator and students use quality materials to create their art. All this takes place in a real art making environment-our professional art studio.  Rogue Gallery & Art Center Summer Art Camps provide quality art education to inspire and build life-long interest in the arts.

Pre-Register ONLINE at | Camps held at 40 S. Bartlett Street in downtown Medford | 541.772.8118

PLEASE REGISTER EARLY! To hold a camp, we must meet the minimum enrollment requirement one week before the first day of camp.

 All Camps | $105 Members | $125 Non-Members

SCHOLARSHIPS AVAILABLE For more info call the Rogue Gallery & Art Center or email [email protected]

NEW! Ages 4-7


Tuesday- Friday ● Aug.  7-10 ● 9:00am -12:00noon

Instructor- Amy Godard Navickas

Play and create with non-toxic up-cycled and recycled materials to make sculptures, kinetic art, mixed media art, puppets, prints and more. We will focus on turning cast away ephemera such as empty spools of thread, berry baskets, game pieces and more into interesting art objects. A parent/ guardian is welcome to participate and stay or to drop-off campers.


Ages 7-12    


Tuesday- Friday ● June 19-22 ● 9:00am -12:00noon

Instructor- Amy Godard Navickas

Art makes the world go round! “Travel” around the world from the   Americas and through Mexico, Africa, Asia, and India to create fresco paintings, clay vessels, masks, musical instruments, and more!



Tuesday- Friday ● June 26-29 ● 9:00am -12:00noon

Instructor- Eva Fawcett

Expand your drawing skills and let your imagination soar by learning classic techniques like shading & perspective, draw real or imaginary   animals, self-portraits, and explore drawing in Manga style.



Instructor- Mary Wilkins-Kelly

Tuesday- Friday ● July 5-7 ● 9:00am -12:00noon

Experience the wonderful world of paper! Learn to make paper, create marbleized and colorful paste papers, and use your art papers to construct one of a kind sketchbooks, sculptures, and collages.



Instructor- Amy Godard Navickas

Tuesday- Friday ● July 10-13 ● 9:00am -12:00noon

Draw, paint, print, collage, and have fun exploring pop art techniques inspired by popular culture. Learn to draw in three dimensions and discover basic skills that will make your drawings POP!



Instructor- Samar Dawisha

Tuesday- Friday ● July 17-20 ● 9:00am -12:00noon

The fun is in the mix of art expression- experiment and get creative with paint, printmaking, collage to discover their own unique style of expression while referencing art history from ancient to modern art.



Instructor- Samar Dawisha

Tuesday- Friday ● July 24-27 ● 1pm -4pm

Explore the world of 3-dimensional art from Egypt’s Sphinx to Oldenberg’s Giant Bag of Fries and play with a variety of materials to create and construct wild, wacky, and fantastic art objects.



Instructor- Amy Godard Navickas

Tuesday- Friday ● July 31-Aug 3 ● 9:00am -12:00noon

Paint with watercolors and explore landscapes, buildings, abstract designs, imaginary creatures and more while learning basic design principles with references to art history.



Instructor- Tia Gardner

Tuesday- Friday ● August 7-10 ● 9:00am -12:00noon

Experience acrylic paint on canvas! Learn to use light and shadow, describe shapes in 3-D, experiment with color mixing, composition, and paint an impressionist landscape with movement and expression.



Instructor- Tia Gardner

Tuesday- Friday ● August 14-17 ● 1:00 pm -4:00pm

Printmaking is like a giant stamp- explore and discover ways to create block prints from a variety of materials with bright and colorful inks to create original designs.



Instructor- Ted Helard

Tuesday-Friday ● August 21-24 ● 9am-12pm

Learn to construct creative and unique comics with the basic concepts of cartooning. Create simple cartoon figures and characters and bring them to life with stories, expression, and creativity!


NEW! Ages 13-17

TEEN DRAWING: Draw on the Artist Within

Instructor- Eva Fawcett

Tuesday- Friday ● June 26 -29 ● 1:00 pm -4:00pm

Let the artist in you come out and play by illustrating the human face, explore figure drawing, and practice drawing realistic animals. Learn to see as an artist and apply that vision to paper with graphite, charcoal and color, exploring value, tone and line.


TEEN PRINTMAKING (Two-Day): Monotypes on the Square

Instructor- Nancy Jo Mullen

Thursday & Friday ● July 5-6 ● 9:00am-4:00pm

Create “out of the box” monotypes (unique prints) using square plexi-glass as a plate and learn to pull prints using a professional etching press and fine inks in the studio of the instructor. Explore ways to create one-of-a-kind prints from black & white to full color. Bring a lunch, a small sketchbook and a swimsuit and towel as campers are welcome to take a swim after camp each day.






TEEN PHOTOGRAPHY: Developing an Artistic Eye

Instructor- Mary Wilkins-Kelly

Tuesday- Friday ● July 10 -13 ● 1:00 pm -4:00pm

Develop an eye for taking great 35mm photos, express individual style, and explore lighting, composition, portraiture, and still-life with fun hands-on activities and walking field trips then develop your film in the darkroom and print black and white photographs.


Call to Artists- Elvis Emporium at the Rogue Gallery & Art Center!












Elvis Emporium Exhibition
January 10 — January 27, 2012

In celebration of Elvis Presley’s 77th birthday, and in conjunction with the Heart of Medford “Elvis Week,” the Rogue Gallery & Art Center will host a non-juried art show of work inspired by “The King.” Artists of all ages are invited to bring in one work for display in our Community Gallery.
Open to all 2 & 3-dimensional media. Display space is limited, however, so only the first 35 works to be dropped-off will be included in the display. Installation work will be considered with prior approval. NO work larger than 24” in any direction will be accepted. NO work with a sale price more than $250 will be accepted due to insurance considerations. Contact Jules Masterjohn at [email protected] or 541-772-8118 for more information.
Artwork must be dropped off in person on Saturday, January 7th from 12 – 2PM at Rogue Gallery & Art Center, 40 South Bartlett Street in Medford. All artwork must be picked up on Saturday, January 28th from 12 – 2PM.

For an Elvis Emporium entry form, visit our website:

Rogue Gallery & Art Center presents: Roni Marsh Dec. 3 & 4!

FUNdamentals of Design & Composition

with Roni Marsh

Saturday & Sunday, December 3 & 4 from 10 AM – 5 PM

Roni Marsh at work

All skill levels welcome!

NEW!!! Register online:

$85 members/ $100 non-members

Individual Annual Memberships start at $35!

Fundamentals of Design and Composition taught by nationally and international award-winning local artist Roni Marsh will be a FUN and informative weekend workshop for painters of all mediums and any skill level to explore and strengthen artistic use of the fundamental building blocks of design and composition. Participants will learn skills to capture and hold the attention of their viewers and build confidence in the fundamentals, while enjoyably exercising creativity and exploring painting in new ways.

Whether you use pastels, oils, acrylics, watercolor, mixed-media, drawing, or more- this workshop led by outstanding artist educator Roni Marsh will be FUN and help you take your artwork to the next level!

Register online:, email [email protected], or call (541)772-8118 for more information!

Ignite the Mind, Stir the Soul, Open the Heart… Boldly Create!

Rogue Gallery & Art Center    40 South Bartlett St. Medford, Oregon 97501