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About Eugene weekly. (Eugene, Oregon) 1993-current | View Entire Issue (Dec. 7, 2017)
LET TERS GODMOTHER OF PRINTMAKERS Bob Keefer writes, “the godfather of printmaking here is Gordon Gilkey” (“Printmaking Explodes in Oregon," 11/30). However, his article conveniently excludes LaVerne Krause, who I consider the godmother of Oregon printmaking. Krause graduated from the University of Oregon art department in 1946, and lived in Portland after graduation, then re- turned to the UO to found the printmaking department. Generations of artists, including me, marveled at her teaching skills and im- portance in championing young artists. In 1972 she gave my fellow printmaking stu- dents and me our first professional gallery experience in a summer showing at Port- land’s prestigious Fountain Gallery, owned and directed by Arlene Schintzer (mother of noted print collector Jordan Schnitzer). Mention “moody blues,” “lyrical abstraction” and “landscape” prints, and Krause always comes to mind. As the only woman on the UO visual arts faculty for much of her career, she often felt inse- cure when grouped with mostly male art- ists of her generation. Her work was con- veniently excluded from the Smithsonian National Collection survey, Art of the Pa- cific Northwest from 1930s to the Present, exhibited in Washington, D.C., Seattle and Portland in 1974. I consider Krause an important mentor not only for me but also for generations of Oregon-based artists and printmakers. 4 Much of her strength and success will be remembered as a teacher and also a prolific printmaker. Krause inspired me to continue making prints after graduating in 1972, and these prints have been collected by the Port- land Art Museum’s Gilkey Print Center as well as the Hallie Ford Museum, Wil- lamette University, Salem. Mike E. Walsh Eugene THE SOUL OF DIGITAL ART As a relative newcomer to the art world, its artists, observers and critics, I was ex- cited to read the Weekly’s cover story on Oregon printmaking. It was not long into the article, however, that a comment made by Eugene printmaker Tallmadge Doyle broke my focus and both surprised and saddened me. In explaining a renewed interest in printmaking shown by many artists, Doyle made the declarative statement that “digi- tal has no soul.” I suppose I shouldn’t have been sur- prised, as the art world seems to have es- tablished a hierarchy of two-dimensional media evaluation, beginning with oil paint- ing at the very top and then moving down- ward dismissively towards watercolor and mixed media, with textiles always taking the bottom rung of this ladder. It’s unfortunate and unknowing when a non-artist dismisses digital art as soulless, but for an artist to do the same — that is, to elevate his or her process with a sweep- December 7, 2017 • eugeneweekly.com ing negative generalization of another — is truly sad. I rely heavily upon digital tools in my work, but I can assure Doyle that the hours and days I spend on each piece are no less imbued with my soul than are hers. She is certainly entitled to dislike any particular work of art, whatever the medium, but the statement condemning as “soulless” any medium she believes to be inferior to her own has no place in what should be an art world that embraces all new tools for self- expression. Karen Lee Eugene tion with traditional etching. Gordon’s MFA was the first one award- ed in “printmaking” in 1936 at University of Oregon and probably first in the country in printmaking as most had been in paint- ing and sculpture prior to this time. It was not, however, the first MFA degree award- ed at the UO. The first MFA was awarded in 1926 at the University of Oregon. The art school was started in 1914. Most U.S. art schools did not formally award the MFA degree until the 1940s. Kenneth O’Connell Former head of the UO Department of Art NOTING GILKEY Great article on “Printmaking Explodes in Oregon” (11/30). There have been so many excellent artists involved in this art form throughout the Northwest. It was proper to note Gorden Gilkey as the vital force in the development of print- making throughout the region and beyond. I knew him for years and he helped La- Verne Krause and Ken Paul set up a full- fledged printmaking program at the UO. I visited Gilkey in the 1980s when he was a sort of permanent artist-in-residence at the Portland Art Museum School (now PNWCA) when it was attached directly to the Portland Art Museum. He used their printmaking presses and was always will- ing to talk with and help students and visi- tors. He was very interested in new tech- nologies, including the computer, and was exploring digital printmaking in combina- LIVING IN FEAR I know the fear of raising a family of three children without insurance. That was my life for 12 years. My then-husband worked seasonally. I prayed there would be no bill too big I couldn’t pay off. It was before the Oregon Health Plan. The only thing that popped up was my husband getting sick. Now he was sick and out of work. I knew not where to turn. My mother suggested the Veterans Administra- ton. I didn’t know he qualified. The VA was a lifesaver. Before the di- agnosis of a very serious, life threatening illness, there was a surprise trip in an am- bulance and then the bill. FireMed forgave our bill. I have maintained membership since. He returned to good health. It was three years until he could return to work. Don’t let us return to that fearful time.
