Mark Andres
EDUCATION
1987- 1988 University of Massachusetts, Amherst
1986 Berger Summer School, Normandy.
1985- 1986 Art Institute of Boston.
1977- 1981 Williams College, Williamstown
SOLO EXHIBITIONS
2004 Alysia Duckler Gallery, Portland, OR.
2002 Judi Rotenberg Gallery, Boston, MA.
Alysia Duckler Gallery, Portland, OR.
2001 University of Portland, Portland, OR.
1999 Gallery 114, Portland, OR.
Judi Rotenberg Gallery, Boston, MA.
Portland Community College, Portland, OR.
1998 Guardino Gallery, Portland, OR.
Gallery 114, Portland, OR.
Vancouver School of Arts and Academics, Vancouver, WA.
Metro Washington Park Zoo, Portland, OR.
1996 Gallery 214, Portland, OR.
1995 Signature Fine Art, Lake Oswego, OR.
1993 Washington Street Loft Gallery, Portland, OR
1990 Portland Community College, Portland, OR.
1989 Fauve Gallery, Amherst, MA.
Congress Square Gallery, Portland, ME.
Congregation Young Israel, Brookline, MA.
1988 University of Massachusetts, Amherst, MA.
1985 Biblioteca Regional de Copacabana, Rio de Janeiro, Brazil.
Clube dos Mulheres de Sao Paulo, Brazil.
1981 The Open Book, Portland, ME.
GROUP EXHIBITIONS
2003 Art Gym, Marylhurst University, West Linn, OR.
2002 Gallery 114, Portland, OR.
2001 Bowery Gallery, New York, NY. (jury show)
Judi Rotenberg Gallery, Boston, MA.
Alysia Duckler Gallery, Portland, OR.
2000 Pacific Northwest College of Art Faculty Show, Portland, OR.
Judi Rotenberg Gallery, Boston, MA.
Gallery 114, Portland, OR.
1999 Judi Rotenberg Gallery, Boston, MA.
Portland Community College, Portland, OR.
Gallery 114, Portland, OR.
1998 Coos Art Museum, Coos Bay, OR. (jury show)
Newport Art Association, Newport, OR. (jury show)
Judi Rotenberg Gallery, Boston, MA.
1997 Pacific Northwest College of Art, Wentz Gallery, Portland, OR.
Gallery 214, Portland, OR.
Gango Gallery, Portland, OR.
1996 Corvalis Art Center, Corvalis, OR. (jury show)
1995 The Studio In Essex, Essex, NY.
Mullahey Gallery, Portland, OR. (3 shows)
1993 Tacoma Art Museum, Tacoma, WA. (jury show)
Washington Street Loft Gallery, Portland, OR.
1992 Artquake Visual Arts Gallery, Portland, OR. (jury show)
1991 Art Slate '91, Condon, OR. (jury show)
Artquake Visual Arts Gallery, Portland, OR. (jury show)
1990 Canal Gallery, Holyoke, MA.
Northampton Studios, Northampton, MA.
1989 Fauve Gallery, Amherst, MA. (2 shows)
Sync Gallery, Northampton, MA.
1988 Massachusetts Eye and Ear Clinic, Boston, MA.
1986 Art Institute of Boston, Boston, MA.
1985 Federal Reserve Building, Boston, MA. (jury show)
GRANTS AND AWARDS
1998 US Bank/PCC Faculty Federation Award for Distinguished Teaching.
1996 Oregon Literary Arts Grant.
1990 Massachusetts Artist's Foundation Fellowship.
1988 Massachusetts Arts Lottery Council.
1983 Massachusetts Arts Lottery Council.
TEACHING AND LECTURES
1991- 2004 Portland Community College, Portland, OR
1995-2001 Pacific Northwest College of Art, Portland, OR
1999-2002 Portland Drawing / Painting Intensives (with Joseph Mann)
1998-99 Vancouver School of Arts and Academics, Vancouver, WA.
1997 Sayde Bronfman Center for the Arts, Montreal, Canada.
Oregon College of Art and Craft, Portland, OR.
1996-1997 Creative Arts Community at Menucha, Portland, OR.
1991- 2002 Art Beat, Portland Community College: Portrait Painting.
1990 Northampton Studios: Landscape Painting.
1988- 1989 B'nai B'rith Hillel Foundation, University of Massachusetts, Amherst
PUBLIC COLLECTIONS
Oregon Health ans Sciences University, Portland, OR.
Regional Arts and Culture Council (Visual Chronicle of Portland), Portland, OR.
Portland Community College, Portland, OR.
People's National Bank, Liberal, KA.
Artist's Statement
Painting is a preverbal experience which connects us to the mystery of the world before we learned the names of things.
The most revolutionary thing I can do as an artist is pay very close attention to how I perceive the world from moment to moment and be as true to that as possible. The intimacy of seeing is bigger than any issues of art history, or politics or of painting.
All art is conceptual and all art is political but in the end it is the quality of the image that matters. Much conceptual work is predicdable and much political art is a bore.
Painting can still be beautiful. Beauty is all that is left of the art of the past. Beauty does not mean pretty landscapes or pretty women-- though it could. Beauty is not about what but about how. And it is never about a style. It is about the quality of attention. Anything intensely seen is beautiful.
The triggers which awaken an artist's most intense feelings are very important. One can argue about the quality of a work of art but never about the trigger.
Painting is not in competition with photography, film, television, mechanical reproduction or the internet. If these forms are about speed, then painting is about slowness. The slow build-up of the image, the scrutiny of the subject-- these are unique to painting and drawing.
There is no such thing as "just painting from observation" or "just looking." The mind is part of the eye. A painting is a record of how the mind holds an image. Painting was invented as an artifact of how the mind holds an image.
How the mind can hold an image is different from how a camera can hold an image. Painting is about the mental projection of an image from the mind of the painter onto the mind of the viewer. The painting in itself is only a vehicle for this to happen. The art is as much in the painting as in this exchange.
It is hard to write well about painting, but it is much harder to paint well. Painting exists in its own world, another world like the world of dream or myth or religion, another world to which we intensely "feel the tie" (Melville).
A painting is not an escape but a re-entry.
copywright Mark Andres 2003
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