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October 2011

JOHN COPELAND
A Town With No Memory

Through November 1st, 2011

EAT OF THE APPLE    
2011
Acrylic on canvas
24” x 20”

GOING TO CALIFORNIA    
2011
Acrylic on canvas
24” x 20”

YOU DON’T EVEN HAVE TO LOOK GOOD
2010
Acrylic on canvas
60” x 50”

THE FRUIT OF A PROMISE    
2011
Acrylic on canvas
48” x 40”

I CAN ONLY PROMISE YOU ONE THING
2010
Acrylic on canvas
68” x 60”

GOOD TIMES, FOOL’S GOLD    
2009/2011
Acrylic and oil on canvas
38” x 42”

MEMORIES OF YOU
2010
Acrylic on canvas
30” x 40”

TIMES OF GRACE
2010
Handmade embossed linen box containing Times Of Grace catalog, one etching, and three prints
Edition of 10 + 7 A.P, signed by the artist
18” x 24”
Printed by Reflex Editions, Amsterdam

Born in California, where he studied at CCAC, John Copeland now lives and works in New York, NY. His unique brand of paintings—marked by undefined forms, elaborate drips, and a romanticism and fullness not often attributed to acrylic paint—is informed by scraps of old magazines, music, his father’s Playboy magazines from the 1960s, and an intense fondness for both abstraction and the figure. Images of faceless, fleshy figures, skulls, television sets, cartoon characters, and animals are repeatedly found in his work, which is at once dark and whimsical.

John Copeland is represented by V1 Gallery in Copenhagen, Nicholas Robinson Gallery in New York, and Gallerie Alex Daniels – Reflex in Amsterdam.

For more information about John Copeland or to request a pricelist for the exibition, please contact May Barruel (may@wp.stumptowncoffee.com/) our Downtown curator.

We are excited to announce the release of the first issue of our quarterly newsletter. Inside you’ll find insightful articles about our producers, farmers, coffees and upcoming events. We hope you enjoy this unique look into Stumptown Coffee Roasters. Printed copies are available in all Stumptown Cafés.



“Ain’t hardly been in the saddle myself in a while. This horse is getting even with me for the sins of my youth. In my youth, before I met your dear departed ma, I used to be weak and given to mistreating animals. This horse and those hogs over there are getting even with me for the cruelty that I inflicted. I used to be able to cuss and whip a horse like this but your ma, rest her soul, showed me the error of my ways.”
- William Munny, Unforgiven

“Things separate from their stories have no meaning.”

- The Priest in Huisiachepic, The Crossing

Animals and landscape play prominent roles in the fiction of Cormac McCarthy, both symbolically and as characters in and of themselves. McCarthy’s novels are set in a variety of locales, predominantly in the southern and western United States and Mexico, in the mountains, in the forests, on the open plains. Horses, wolves, swine, buzzards, coyotes, crows, lizards, rodents, bats and more all coexist with the somber and hardened men and women of the frontier borderlands and the Appalachian backwoods. His characters live their brief lives slumped in a horse’s saddle or huddled around a meager fire scraped together from an indifferent landscape.

This new body of work uses the imagery and events within McCarthy’s books as a jumping off point to inform a personal exploration and interpretation of the complex historical relationships between humans, animals and the landscape of the American Frontier. I’m interested in the tools and strategies man has employed in our efforts to establish complete control over the natural world. All the while being at the mercy of a world which seems so inescapably predetermined, with a conclusion that is just as final for each of us as for all the living creatures with which we share this land. What animals do we as humans persecute and drive from the landscape as our territory grows and why? Which ones have been lucky enough to evolve with us and in fact help make this expansion possible?

Embroidery is a meditative activity for me. The pace and attention to detail gives me a new perspective and demands a longer consideration of a given subject than my relatively quick drawings (which speak more to a lifelong, severe attention deficit). It is an art form employed by both rich and poor, for both functional and decorative purposes, and is capable of stark simplicity and deep, rich intricacy. My sculptures represent a different facet of this same exploration. Forgotten relics, handcrafted and life-worn, with implied though often unknowable histories. These objects become proxies upon which we project our understanding of this bygone era.

This exhibition will provide an in-progress view of this new body of work.

An artist reception and talk will be held on Tuesday the 11th of October, from 6-8pm.

JOHN COPELAND
A Town With No Memory


October 8 – November 1, 2011

Continuing its recent effort to bring emerging New York artists to show at its Downtown Portland location, Stumptown Coffee Roasters proudly presents A Town With No Memory, a new solo exhibition by American painter John Copeland. Please join us for the opening reception Saturday October 8th, 6pm-8pm. Artist in attendance.

Born in California, where he studied at CCAC, Copeland now lives and works in New York, NY. His unique brand of paintings—marked by undefined forms, elaborate drips, and a romanticism and fullness not often attributed to acrylic paint—is informed by scraps of old magazines, music, his father’s Playboy magazines from the 1960s, and an intense fondness for both abstraction and the figure. Images of faceless, fleshy figures, skulls, television sets, cartoon characters, and animals are repeatedly found in his work, which is at once dark and whimsical. John Copeland is represented by V1 Gallery in Copenhagen, Nicholas Robinson Gallery in New York, and Gallerie Alex Daniels – Reflex in Amsterdam.

Image Memories of You (Acrylic on canvas, 2010, 30” X 40”), courtesy of the artist and V1 Gallery. Please contact May Barruel for further information (may@wp.stumptowncoffee.com/).

Stumptown Coffee Roasters
128 SW Third Avenue
Portland, OR
M-F: 6AM-7PM / S-S: 7AM-7PM
TEL: 503-295-6144

[portfolio_slideshow]

Jeremy Dubow painted 27 portraits in 21 days. Friends and friends of friends were invited to participate. Inspired in part by the masters, in part by contemporary realists, and in part by pixellated imagery, the body of work began by allowing each portrait to unfold one paint stroke at a time almost like the pixels of a digital photo. Each painting was done from life, under the same light of the same room in the artist’s home, in oil on mylar.

Jeremy has studied figurative art in New York, Los Angeles, San Francisco, and Portland, as well as classical painting in Florence, Italy. He has worked in animation and illustration, and has shown in numerous galleries in Portland. His work can also currently be seen at the Pulliam Gallery in the Pearl, and he teaches portrait painting at the Stables in Southeast.

4525 SE Division Street
Portland, Oregon