Statesman Journal Article, Salem, Oregon
Recent artist talk/ panel discussion, March 5th, 2015
Discussed Art in Rural Storefronts project at Stanford University's
The Rural West Initiative
Where-Wolf (Willamette University) January 2014
I will be having a one person show at Duplex in Portland, OR in December
Andrew Myers - December 2013
Join us at the opening December 5th
From the artist's website:
Andrew Myers' art work is drawing-based with elements of installation and sculpture. This large scale work interacts with the exhibition space and engages the viewer by becoming part of the environment. Integral to Myers' work is the hand-made mark and the physical evidence and visual history of the artist's hand.The concepts of Place and Home and what those words mean are themes that permeate his work. Printmaking has also become a large part of Myers' studio practice. The technique of monotype printmaking and the size and time restrictions that go along with it, compliment and inform the large scale site-specific drawings.
Andrew's work can be viewed at the gallery December 5th through the 30th.
Project Space 2013
A Two-person exhibition with Michael Boonstra - July 2-13, 2013
Project Space 2013
Project Space, Salem Art Association
Caldera Artist Residency April 2013
THSART interview 2013
Art in Rural Storefronts
"Place", S. Santiam Gallery, Linn Benton Community College, Albany, OR
Two person exhibition with Frossene King at LBCC.
Creatures of the Night
I have work in a spooky exhibit at my gallery in Seattle,
A small review in the Seattle paper, The Stranger....
New Printmaking Exhibition at Sisko Gallery in Seattle
I have an exhibition of my monotype printmaking work at my new gallery in Seattle, WA.
February 9th - March 4th 2012
Norma Seibert Scholarship Reception
My new intaglio print "Home Fly" is part of the 2011 Norma Seibert Scholarship program. Prints by the scholarship recipient Frossene King, visiting artist Brittany Powell and myself will be sold together to raise money for this printmaking scholarship.
The reception will be Thursday, May 19th at 6 pm in room 109 of the Memorial Union Building at Oregon State University.
Further information can be found at Norma Seibert Printmaking Scholarship Program
Earth + Allegory Artist/Curator Talk
New Works Lecture & Performance Series - Artists' Talk with Jonathan Bucci
Wednesday, February 16
Bush Barn Art Center
On Wednesday, February 16 at 5:30 pm at the Bush Barn Art Center, Collections Curator for the Hallie Ford Museum of Art and A.N. Bush Gallery guest curator, Jonathan Bucci, along with A.N. Bush Gallery exhibiting artists Craig Goodworth and Andrew Myers will discuss the current Earth + Allegory exhibit. This two person exhibition includes artwork that tells stories about the earth and our relationship with the earth through various mediums including drawing, sculpture, and video installation. The artists will discuss their inspiration, motivations, and methodologies.
Please contact Kathleen Dinges at 503-581-2228 x312 or email@example.com if you have any questions or would like more information.
Earth + Allegory
Earth + Allegory: Recent Works by Andrew Myers and Craig Goodworth - Sponsored by Willamette University
Through February 26
A.N. Bush Gallery
Bush Barn Art Center
The artwork of Andrew Myers and Craig Goodworth tells stories about the earth—and human interaction with the earth—through the use of symbolic figures, processes, and actions. This exhibition presents Myers’ large narrative drawing installations of seemingly mythical figures digging, planting, and juggling the environment around them. The charcoal drawings are composed on both paper and directly on the wall. Craig Goodworth’s video installation and sculptures address a spiritual connection with the land and the cycle of birth, death, and rebirth found in nature. His exploration of materials and processes include the use of steel, rope, root masses, and animal carcasses.
Andrew Myers lives in Portland, Oregon and teaches on the faculty of Oregon State University in Corvallis. He grew up in Eastern Oregon and attended Eastern Oregon University in La Grande before earning his MFA from Portland State University in 2003.
Craig Goodworth lives in Newberg, Oregon. He grew up in the Arizona Sonoran desert and received a BFA from Maryland Institute College of Art in Baltimore, Maryland. He has completed a residency at an Eastern Orthodox monastic community in rural northern New Mexico and earned his MFA from Azusa Pacific University in Southern California in 2010.
This exhibit has been curated by Jonathan Bucci, Collections Curator at the Hallie Ford Museum of Art. It is the inaugural installment in SAA’s Guest Curator Series, an annual exhibition conceived and designed by a prominent artist, art educator, or arts administrator living and/or working in the Pacific Northwest. The goal of this series is to provide new perspectives on the contemporary art and art history of this region.
The Bush Barn Art Center is open Tuesday-Friday, 10:00 am-5:00 pm and Saturday-Sunday, 12:00 am-5:00 pm. For more information, contact Catherine Alexander, SAA Gallery Director, at
503-581-2228 x302 or via email at firstname.lastname@example.org.
Creative Quarterly - Summer 2010
My work is featured in the new edition of Creative Quarterly.
Jeff Jahn review, February 2006, Ogle Gallery, Portland Oregon
Andrew Myers at Ogle
Another solid effort was at the Ogle Gallery (also in the Everett Station Lofts block). It features Andrew Myers and Holly Andres as part of the Portland Modern publication's exhibition program. Andres photographic work is just the sort of Gregory Crewdson lite work one see's at every art fair but Myers is someone special. His moody, large scale drawings of heads and birds definitely have psychological punch. Birds are typically symbols of freedom, risk and morality. Also, these birds definitely seem to grow out of the human heads much like Athena springing from the head of Zeus. Art in America reviewed these last year and I agree, this is some of the strongest drawing I've seen in years. I want to see a solo show of new works from Myers but until then check this out.
Art in America
March 11, 2005
Sue Taylor Reviews the Work of Artist Andrew Myers in the March 2005 edition of Art in America
"A talented draftsman, Andrew Myers has produced a series of huge and engaging self-portraits in oil stick, charcoal, marker and paint. These large, shaped drawings, mounted directly on the wall, imply a fearless introspection while invoking an old tradition in Western art: physiognomics, the pseudo-science correlating facial features with emotion and character. Studies in expression, varying from quizzical to manic, even disturbed, Myers's grimacing heads also exhibit diverse mark-making techniques and surface treatments. Viewed close up, they become satisfying linear abstractions in thier own right, in shades of black, white and gray.
For this exhibition, Myers cut up and reassembled heads already made to create eight new works (all 2004), ranging in height from 6 to 9 feet. With some fragments stitched together, the constructed nature of the self is on display; at the same time, the sutures become another kind of mark in Myers's impressive formal inventory. Underlying this adventuresome recycling project is a desire, according to the artist, to "become something useful for the birds," a species of which he is quite fond. Each portrait head thus serves an avian guest. In Hunting Ground, the artist's forehead morphs into a patch of grass (actually a paper fringe), in which a sprightly yellow goldfinch forages. In Feeder, a vessel-shaped face sprouts red-orange blossoms from which a hummingbird, mid-flight, extracts a taste of nectar. Elsewhere, a killdeer, crow and owl employ the willing artist's crown as a comfortable perch, while a woodpecker hammers a series of (literal) holes in his brow. The good-natured humor of this enterprise culminats in Home, where the head doubles as an actual (though uninhabited) birdhouse, a circular aperture inviting entry through the tip of the artist's nose.
The paper birds evoke various associations as they park and/or peck on Myers's self-portraits: they are phallic, of course, and may also suggest spiritual visitations or feelings externalized. In a regional context, the most resonant if unintended reading of these pictures of Myers and his feathered friends is environmental. The Pacific Northwest, where George Bush I cynically pitted people against the spotted owl, remains a battle-ground for would-be exploiters and protectors of wildlife, forests and rivers. In these fresh and original drawings, the artist inverts the normal state of affairs, envisioning human beings as generous hosts rather than opportunist predators of nature.