Lindsay Costello

On Yulia Pinkusevich's Calm Under the Waves in the Blue of My Oblivion at Archer Gallery.

The winnowing process is ancient. Early Egyptians depicted this method of separating grain from chaff, as did the Ojibwe.

An interview with the painter Rainen Knecht, whose solo exhibition R U My Mother? is at Fourteen30 Gallery in Portland, Oregon.

Review of Rami George's window exhibition at PCC Paragon Gallery, January 2021.

Review of Panteha Abareshi and Kayley Berezney's exhibition NO SANCTUARY at Fuller Rosen Gallery in Portland, Oregon.

Pacifico Silano’s solo exhibition at Melanie Flood Projects, I Won’t Last A Day Without You, consisted of photographic prints, framed without glass and adhered in vinyl to the gallery walls, plus a video, Inside Out.

It’s easy to compartmentalize nature as a singular entity—we’re either in it or we’re not—and it feels quite distant during pandemic times. But perhaps our relationship to nature could become more fluid, more interconnected, more spiritual. Such is the central topic of Adams and Ollman’s group show, Eartha, featuring the works of seven artists grappling with their place in the natural world.

A review of Alyson Provax's "Out of Nothing" at Archer Gallery in October 2020.

Review of "Banners for Cultivating Resistance" by the Living School of Art at Nationale, October 2020.

At Nationale, Anya Roberts-Toney’s Summer’s Eve imagines a matriarchal realm with an edge. The artist’s series of twelve oil and acrylic paintings are shaped by visions of euphoric women amongst flora, but hint at the complexities inherent to such a space.

Review of Rebecca Brewer's "Natural Horror" at Frye Museum, Seattle, Washington.

Article on Cecilia Vicuña's retrospective at the Henry Art Gallery in Seattle, for the 2019/20 winter Globalism issue of Art Papers. Print and online.

The vibrancy of Marlon Mullen’s paintings beckons to every pedestrian who passes the broad windows of Adams and Ollman. The thirteen paintings included in Mullen’s solo exhibition are inspired by advertisements, as well as magazine and book covers running the gamut from Artforum and Art in America to knitting and cooking publications. Mullen finds these visual references in the library at Nurturing Independence Through Artistic Development (NIAD), a Richmond, California ar...

Critical Viewing is a free monthly online article and that can include but is not limited to; art exhibitions, performances, readings, lectures and artist talks, fundraisers, popups, film screenings, and social practice projects. Critical Viewing is a collaboration between Lindsay Costello & Ashley Gifford that began in May 2019 in conjunction with Art & About. We also occasionally print seasonal publications.

This season’s edition is by Lindsay Costello.

We also included a PDF link at the bo...

At the Portland Institute for Contemporary Art, an exhibition and corresponding series of events has centered the multiplicity of voices surrounding sex work. No Human Involved: the 5th Annual Sex Workers’ Art Show features a range of artworks made exclusively by sex workers. The show was co-curated by Roya Amirsoleymani of PICA and Kat Salas and Matilda Bickers of STROLL, a Portland-based harm reduction, outreach, and education group run by and for sex workers. In tand...