Prudence Roberts

Photographer and curator Terry Toedtemeier (1947–2008) began his career in the 1970s with extensive photographic experiments to capture his close circle of friends and colleagues. Largely self-taught, he began to attract wider critical attention with his landscape images, initially snapshots from his moving car and later exquisite compositions influenced by his deep understanding of both historical and contemporary photography traditions of the American West. His haunting photographs often focused on the Oregon desert and coastline, and magnificent basalt formations of the Pacific Northwest. Sun, Shadows, Stone is the first scholarly monograph of the photography of Terry Toedtemeier. His photographs were featured in the nationally traveling exhibition Framing the West: The Survey Photographs of Timothy H. O'Sullivan and are in the collections of many museums including the Museum of Fine Arts in Houston, the Philadelphia Art Museum, and the San Francisco Museum of Modern Art.

Crow's Shadow Institute of the Arts at 25 explores the first twenty-five years of a remarkable nonprofit printmaking and traditional arts studio based on the Confederated Tribes of the Umatilla Indian Reservation in eastern Oregon, the only such center located on a reservation community in the United States. Art historian Prudence Roberts, drawing from conversations with CSIA founder, the artist James Lavadour, narrates the institute's history from its beginnings through the establishment of a professional quality printmaking program and an international reputation. Native American art scholar heather ahtone and curator Rebecca Dobkins trace the development of indigenous printmaking in North America, further contextualizing this story. Over sixty color plates will illustrate selected work from the dozens of artists, indigenous and non-indigenous, who have completed residencies at CSIA since its founding, including luminaries of contemporary Native American art Rick Bartow, Joe Feddersen, Jeffrey Gibson, Edgar Heap of Birds, James Lavadour, Lillian Pitt, Wendy Red Star, and Marie Watt.

Oaks Park Pentimento records the blurring of past and present, a moment when two generations of paintings collided to create remarkable new images. Over two days in 1982, Jim Lommasson photographed the strange and beautiful paintings that decorated the center column of the historic carousel at Oaks Amusement Park in Portland, Oregon. The original carousel images were an exotic assortment of Edwardian pastoral scenes?western explorers, Native Americans, Arabs, idealized womenpainted by anonymous German and Italian immigrants in the 1920s. In 1944, two itinerant painters, brothers from Vashon Island, Washington, painted over the eighteen panels. Their paintings featured Oregon landmarks from the coast to the Columbia River Highway and from Mount Hood to Multnomah Falls. After years of wear, the new images began to flake and fade away, revealing parts of the original imagery in strange and unusual ways. The double exposures or pentimentos? include a ghostly sailboat gliding through a forest, an Indian chief looming over the Columbia River Gorge, and a parasoled woman with the road to Crown Point emerging from her loins. Each new image created a completely accidental, even surreal, story about the juxtaposition of two generations of paintings. Just three years after Jim Lommasson captured these images on film, the original paintings were restored and the mysterious doubleexposures disappeared. Oaks Park Pentimento preserves Lommasson's haunting photographs and also includes an appreciation by art historian Prudence Roberts and a look at Oaks Park, past and present, by Oregonian reporter Inara Verzemnieks. Native Oregonians who grew up visiting Oaks Park, newcomers interested in the city's quirky, offbeat culture and history, readers interested in folk art and art photography, and carousel and amusement park buffs alike will enjoy these remarkable photographs.

Frank Boyden is a highly regarded Oregon ceramic artist and printmaker who has created a stunning body of work based on the flora and fauna of Oregon. Boyden has explored a wide variety of themes in his prints, including animals, the landscape, and most recently, the human figure. An essay by Prudence Roberts places Boyden's work within the context of regional and American art. Ian Boyden discusses his father as a printmaker and book collaborator.