Where Wolves exhibit - The Rose Center for the Arts
Where Wolf OR7: A Remembrance and Where Wolf Whychus Creek are stop-motion animations created with multi-media drawings on paper that have been cut, folded and otherwise manipulated. They are part of the Where Wolves series which was inspired by the reintroduction of wolves to the western US and the lore of the were-wolf with a play on the name to reference “place” and ideas of exploration, migration, isolation, extinction, instinct and loneliness. This ongoing series embraces the lore of metamorphosis as an entry point to explore human/wildlife coexistence and conflicts in the northwestern region of the US. The series has developed into work about Oregon wolves that have been poached or have otherwise died by illegal or suspicious means.
The Oregon wolf OR7 was the original inspiration for this series that began in 2011, wildlife biologists believe 11-year-old OR7 died in 2021. In an attack on science and wildlife Grey wolves were stripped of Endangered Species Act protections in the lower 48 states in October 2020. The science and research supporting coexistence with apex predators such as grey wolves inform this series with the hope that improved and more effective equipment and techniques will be developed.
Weapons of Microdestruction: Retelling the Story of a Parasite and Pacific Salmon in Four Movements
Jerri Bartholomew, Professor, Dept of Microbiology, Colleges of Science and Agricultural Sciences
Dana Reason, composer and performer, School of Visual, Performing and Design Arts
Andrew Myers, visual artist, School of Visual, Performing and Design Arts
Microscopy images & videos:
Tamar Lotan & colleagues, University of Haifa, Israel
Stephen Atkinson, Oregon State University, USA
Gema Alama-Bermejo, Biology Centre of the Czech Academy of Sciences, Czech Republic
Produced by Oregon State Productions
Underwater photography by Justin Smith
Recorded live at Community Hall, Jan 29, 2022
Piano recorded on Yamaha C3 from Classic Pianos, Portland
Funded through the Emile Pernot Distinguished Professorship to Jerri Bartholomew
Special thanks to the OSU College of Liberal Arts
For more information about Art and Science at OSU:
Seeing a River exhibit at Truckenbrod Gallery, Corvallis OR
SEEING a RIVER
Opening Reception: February 3, 4 - 8 p.m.
Artists Panel Discussion: February 3, 5:00 p.m. Corvallis Art Walk: February 16, 4 - 8 p.m.
Jerri Bartholomew Andrew Myers
Our relationship with a river determines how it is seen. Depending on our personal experiences, we each see a river through a different lens.
Two artists and a scientist view a river through different perspectives.
February 3 - February 25, 2023 Truckenbrod Gallery
575 SW 2nd Street, Corvallis, Oregon 97333 Fri & Sat 12-4 p.m., or by appointment Contact: firstname.lastname@example.org Follow us:
Web: jerribartholomewglass.com Instagram: @andrewrmyers Instagram: @leahcatherinewilson
Wintereisse 2021 Collaboration - Drawing/Opera Performance
March 4, 2021
by Audrey Ladele
On March 6th at 7:30 pm, live-streamed on YouTube, the UNC Department of Music will present the Winterreise Concert, featuring faculty member Marc Callahan, and guest artists Keiko Sekino (piano) and Andrew Myers (art). Since Callahan’s first Winterreise concert with Andrew Myers and Oregon State University, the project has grown immensely, traveled to Japan and England, and had five different collaborating artists and pianists. Callahan met pianist Sekino after she saw one of these Winterreise performances and both knew they wanted to collaborate in the future.
Unlike traditional performances of the Winterreise song cycle, this concert is no ordinary performance; guest artist Andrew Myers will be illustrating the songs of Winterreise in real-time while Callahan and Sekino perform. Professor Callahan created the first Winterreise concert with Myers, inspired by the PBS show Gather ‘Round, which he enjoyed as a child, that would illustrate children’s stories as they were being read. He also strives to make classical music more accessible to wider audiences, having had difficulty getting into this genre initially when he himself was a student.
“I love creating unique performance spaces and always search for ways to engage more directly with the audience. The world of classical music can seem rather cloistered, and I want to open a door for those on the outside.” He noted, “I strive to engage with new audiences through visual reward, contemporary trends in art and design, and interactive theater.”
Additionally, Callahan acknowledged the importance of engagement, especially currently when there’s an unprecedented disconnection between people, caused by the pandemic. He made assurances that not knowing German, the language of the song cycle, shouldn’t hinder the understanding or enjoyment of any audience member, especially with the unique format of the concert.
“At this moment, we are all experiencing a world without human interaction. Something is lost.” Callahan said. “In bringing artists onto the project, I hope that we can remember what our collaborative engagement felt like and share that sense of togetherness and shared creativity with the audience.”
Winterreise begins with a narrator in love with someone of a higher social status. The narrator talks with the person and their family about marriage and the future, but they end up leaving them for someone of higher social and economic standing. This all occurs in the first song, and the remaining twenty-three songs follow the narrator as they leave society and go out into the wilderness alone and get lost in a labyrinth of psychological and natural existence. Ultimately, the narrator runs into a hurdy-gurdy player and asks the musician to accompany his songs. “I have always imagined and interpreted the hurdy-gurdy player as the poet himself. Much like the illusion of the three suns is actually one, the poet and musician are the same person.”
Callahan currently finds himself interpreting the Winterreise more distinctly than years past, as he’s been able to experience a taste of the isolation of the narrator first hand. “After a year of experiencing social isolation, I think that this song cycle will hold an entirely new meaning. One that is much more profound—a lived experience.”
“It has been about a year and a half since my last performance of this cycle, and I know that the pandemic has changed my interpretation since then. It has a quieter, still, and more focused emotional landscape. It’s older and deeper in my body. I’m so curious to see how Keiko and Andrew’s interpretations have shifted when we reunite for the first time on Saturday!”
Professor Callahan and guest artists Keiko Sekino and Andrew Meyers have a lot in store for Winterreise and the exploration of isolation; something all of us can relate to today.
Teaser trailer video for an upcoming project next year.
Artists @ Work
Corvallis Arts Center 2018
Summer 2018 Artist Residency - Oak Spring Garden Foundation, Virginia
2018 performance of Die Winterreise interdisciplinary collaboration at the University of North Carolina at Chapel Hill.
In a collaboration that merges opera and visual art, UNC assistant professor of music and celebrated bass-baritone Marc Callahan performs excerpts from Shubert’s masterpiece Die Winterreise while visual artist Andrew Myers brings the work to life through live drawing. Pianist Keiko Sekino joins them in the UNC School of Dentistry atrium as we continue our celebration of Arts Everywhere Day.
Playa Summer Lake Artist Residency
I had the great opportunity and honor to attend an artist residency at Playa at Summer Lake. An amazing experience shared with inspiring and wonderful people in an unforgettable place.
Die Winterreise Opera Collaboration
I recently had the opportunity to team up once again with two very talented musicians and collaborate on a live performance project.
An interdisciplinary experiment between art and song featuring artist Andrew Myers, baritone Marc Callahan and pianist Lauren Servias.
Ecotone Study #2: LIPTOV
Ecotone Study #2: Liptov
I've been selected as the 2016 Oregon representative for the Figure 50 website
Oregon Arts Commission Career Opportunity Grant and Ford Family Foundation Grant
I was recently awarded a Career Opportunity Grant to travel, make work and install an exhibition in the Slovak Republic with fellow Oregon artist Craig Goodworth. This project will take place in the summer of 2016.
The Creative Forest
This is a project that I helped develop and lead with colleagues and students from OSU during the spring of 2015.
Video produced by Julia Bradshaw.
Window on Art
This video produced by Julia Bradshaw documents a project that I was involved in. The project took place in Corvallis Oregon in 2015.
Art happening in Corvallis, Oregon where 15 artists put themselves and their art-making process on display in a downtown store window.
Each month the Footwise business in downtown Corvallis donates their 3rd St. display window to a an artist or guild to display artwork. Last autumn local artist Jeff Hess applied for the window with the intent of doing something a bit different... placing the creative process itself on exhibit.
At the beginning of the year a call to artists was sent out offering the opportunity to create art in the Footwise display window. Over the next two months interested artists submitted proposals describing what they would do with the space.
Eliciting the help of Hester Coucke (curator at The Arts Center, Corvallis) and Julia Bradshaw (Oregon State University School of Arts and Communication), a collection of proposals were selected that provide both a wide range in materials and artist experience.
Throughout the month of April, 2015 the selected artists created their proposals before the public eye... in the "Window on Art".
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.