The Arts Center

Call to Artists – Gordon Hotel Local Art Collection

Vanessa Smith — Fri, 21 Aug 2026 17:04:28 +0000

Gordon Hotel

Deadline to submit: September 30, 2026 at 11:45 pm PST

Learn more about this call and submit your art here

About the Call

The Gordon Corvallis is seeking artwork by local and regional artists to be featured throughout its new Hotel & Residences, opening in Summer 2027.

Artists of all experience levels are encouraged to apply. This is an exciting opportunity to have your work permanently displayed as part of the unique character and story of The Gordon Hotel & Residences.

Details:

Submission deadline: September 30, 2026.

Artwork in a variety of mediums will be considered.

66 Birds/3 Degrees | Return to Life

Jennie Castle — Fri, 14 Aug 2026 02:24:13 +0000

66 Birds/3 Degrees | Return to Life

Natalie Niblack

Main Gallery

September 17 – November 7, 2026

Reception: September 17, 5:30 – 7:30 PM – Meet the Artist and hear from her collaborators Holly Hughes, Kathleen Dean Moore, Sarah Bassingthwaighte

Unlocking Art Sessions: Tuesday, September 29, Tuesday, October 27, Saturday, November 7 at 1 PM

About the Exhibition

Visit Natalie Niblack’s 66 Birds/3 Degrees and Return to Life, and you will be confronted with the direct gaze of birds struggling to survive. As you view each painting, you are invited to step forward and listen to the bird’s song. As their cacophony fills the gallery, you can’t help but consider your connection to the natural world, and the agency you have to help heal it.

Both projects should be viewed not as a statement of what will be, but as an informed warning of what is at risk. The paintings are meant to inspire action and involvement with the recovery of all creatures affected by climate change. Although the exhibit is about the current and future risks to birds, it is representative of all nature at risk, and the “morning chorus” bird recordings contrast with the silent void of a world without nature’s music.

66 Birds/3 Degrees features Pacific Northwest birds that are at risk if global warming is not mitigated. Inspired by a National Audubon Society study assessing the impact on North American bird species if the climate warms 3 degrees. With the help of Dr. John Bower, a diverse set of at risk birds were chosen, with species representing forest, grassland, montane, freshwater, and marine habitats. Chosen were well-known and common species, as the intention of the project is to make an impact on the viewer through what is familiar, known, and possibly deeply felt.

Return to Life depicts birds pushed to near extinction due to human activity, yet subsequently begin to recover population growth. Their recovery often highlights the immense effort scientists, environmental organizations, governments, and even hunters have put into helping birds regain populations, not to mention the resiliency of the birds themselves.

At the Reception

Using poetry, essay, music, and painting, four Pacific Northwest artists, Natalie Niblack, Holly Hughes, Kathleen Dean Moore and Sarah Bassingthwaighte, present work that bears powerful witness to the consequences of climate change. These artists are uniquely positioned to connect the facts of climate change with the feelings that inspire people to take action. Their goal is to transform scientific understanding into words, music, and art that make these facts deeply real, visceral and relatable. The evening will combine visual art and birdsong, choral music and poems inspired by birds, both living and extinct, and moving essays accompanied by music bearing witness for all species threatened by climate change. You will be transported to Svalbard, listen to the London Symphony, hear tales of loss and redemption, and be inspired to take action.

About the Artists

Natalie Niblack lives on the Skagit River north of Seattle. From this viewpoint, she has been able to observe the pressure of conflicting demands on a fragile landscape since moving to Skagit Valley in 2000. Her work reflects a pervading sense in accelerated change in our culture- change in the climate, environment, politics, and social justice. She asks the viewer to recognize the consequences of our relationship with the environment, and the choices we have collectively made that are inevitably, and perhaps irrevocably, altering the world around us. She is committed to exhibiting work in rural public spaces where challenging work about the environment is rarely seen, and has frequently shown her work in museums and art centers in the Pacific Northwest.

Niblack taught visual art at Shoreline Community College from1996 to 2016. She received an MFA from Edinburgh College of Art in Scotland in 1993. In 2024, she was awarded the SOLA prize from Artist’s Trust in Seattle, and has won several festival awards. Her work is in the collection of the National Museum of Women in the Arts, the Museum of Northwest Art, and Washington State Arts in Public Places. She is represented by i.e. gallery in Edison, WA

Holly J. Hughes is the author of four poetry collections, most recently Hold Fast, coauthor of The Pen and The Bell: Mindful Writing in a Busy World, and editor of several anthologies. Her fine-art chapbook Passings received an American Book Award in 2017. She is copublisher of Empty Bowl Press, directs Flying Squirrel Studio, which offers residencies for women, and consults as a writing coach. She divides her time between a log cabin in Indianola and her home in the Chimacum valley.

Kathleen Dean Moore is the award-winning author or co-editor of more than a dozen books
about our moral relation to the wild, reeling world. Formerly Distinguished Professor of
Environmental Philosophy at Oregon State University, Kathleen’s anguish about accelerating
extinctions and climate chaos led her to leave the university to write and speak out about the
urgency of action. The co-founder and Senior Fellow of the Spring Creek Project for Ideas,
Nature, and the Written Word, Kathleen collaborates closely with musicians, ecologists,
filmmakers, and artists to stand against the corporate and now political plunder of the planet.
Her newest books are Take Heart: Encouragement for Earth’s Weary Lovers and Earth’s Wild
Music: Celebrating and Defending the Songs of the Natural World. For more information,
please see www.riverwalking.com. For an example of her work in film, see The Extinction
Variations.

Sarah Bassingthwaighte is a Canadian-American composer and flutist from Seattle. She’s the winner of the European Music, the International Satie Competition, the International Saint-Saëns Competitions, the International Couperin Competition, and a two-time finalist for the American Prize in
Composition, and six-time winner of the NFA Newly Published Music Award. The London Symphony Orchestra recorded an album of her orchestral works, which was just released on the Aria Classics label in April of 2025. She has been in residency at the Visby International Centre for Composers in Sweden, the Uncool Residency in Poschiavo, Switzerland, and in 2025 Svalbard for the Arctic Residency.

Rose Covert – Elemental Bodies

Jennie Castle — Thu, 06 Aug 2026 23:23:18 +0000

Elemental Bodies

Rose Covert

Corrine Woodman Gallery

September 1 – 26, 2026

About the Exhibition

In this body of work Rose Covert has created a visual storytelling, a woven landscape. Her work
emanates from a profound connection to the materials she works with as she grows, tends, harvests and processes her materials. She is inspired by the feelings evoked when in nature, by the forms and shapes the living world takes and by the elements themselves; earth bodies, fire bodies, wind patterns, waters vast flowing shapes and our relationships to them. Covert’s woven sculptures create a language that translates these elemental bodies into forms that evoke a sense of the living world they are created from. They call us to enchantment and connection with the animate world, they remind us that we belong and are beholden to nature. Her work dances with dynamism and beckons viewers to reconnect with the wilds. They create an experience of belonging to and being in collaboration with nature. Covert’s work Elemental Bodies is rooted in the exploration of weaving forms that elicit the feelings one experiences when they are outside experiencing the complex fiber of the physical world.

About the Artist

Rose Covert uses natural materials to weave sculptural forms. Using re-imagined basketry techniques, Covert creates woven landscapes that twist and travel around themselves. Her work is evocative of the natural world they are created from. They hold an element of dance and movement in their shapes and pull the viewer in with their dynamic tensions. Her work consists of plants she tends and harvests from on a regular basis. She finds inspiration in the natural world, the exquisiteness of elemental forms and landscapes, as well as the habitats the plants grow in. Her work is a continuation of the beauty of the natural world; her work allows us to bring the allure of nature into our homes. Covert’s process begins with planting or harvesting the plants her sculptures are made from and ends in exploration and design as she weaves the forms.

Covert has been a member and board member of the Columbia Basin Basketry Guild since 2014. She has learned and continues to learn a wide range of weaving techniques and practices through her participation with the Guild. She is also a weaving instructor and teaches youth and adults through her involvement with a variety of organizations.

Retail Manager

Maggie Seldera-Bahnson — Sun, 02 Aug 2026 20:20:00 +0000

Retail Manager

Compensation

Full Time Exempt – $45,000/yr

Regular Hours: Tuesday – Saturday 10:00 am – 5:30 pm, as well as scheduled after hours events.

Includes competitive paid leave benefits and option to enroll in TAC’s group health plan and Simple IRA with a 3% match.

Position Summary

TThe Arts Center of Greater Corvallis (TAC) seeks a full-time Retail Manager to lead our current and future retail spaces. TAC is a dynamic, expanding arts organization and the central hub for arts and culture in the Mid-Willamette Valley.

TAC’s Retail Manager will oversee the ArtShop, a community-loved source for locally and regionally crafted art. The ArtShop is more than just a revenue source for TAC; it is a program that supports the local creative economy by showcasing the artistic talent of the area. The ArtShop is a consignment-based store. We rotate artist consignors twice a year, keeping the ArtsShop new and vibrant for our visitors. The ArtShop will be renovated in 2028, and the Retail Manager will play an integral role with our design team in creating a modern, functional retail space for our growing organization.

TAC is in the design and planning phases for a second retail location in our new facility (next door), which will encompass the sale of art supplies for TAC students and the broader community, and is scheduled to open in late 2027. The Retail Manager will play an integral role in the design and development of this new store space for TAC.

The Retail Manager works with the Community Engagement Manager and Associate Director to staff and train volunteers. The Retail Manager will work with the Arts Education Manager to coordinate the purchasing and inventory of the arts supply shop to ensure that TAC students have access to materials needed for classes and workshops.

This position reports to the Associate Director. Ideal candidates will be available to start on or before October 1, 2026.

Percentages of primary work duties

Store maintenance/inventory 40%
Artist coordination: recruitment/selection/communication/marketing & display 30%
Store staffing 20%
General Administrative10%

Responsibilities and Duties

Store Maintenance/Inventory

Coordinate inventory and data management using Point of Sales software
Upkeep of physical and electronic inventory
Meet monthly sales goals
Implement the procedure to rotate inventory
Clean and maintain ArtShop, including: displays, windows, rafters, etc

Artist Coordination

Develop and implement a procedure for calls to artists, review and accept applications (via panel), and deaccession consignments.
Communication between TAC ArtShop and consigned artists
Work with Marketing Manager to highlight artists’ work through various streams (website, social media, newsletter)
Collaborate with the Finance Manager to process individual artists’ payments promptly

Administrative

Work with the Associate Director and the Finance Manager on sales goals and shop operating costs
Attend regular staff meetings

Programming Support

Maintain working knowledge of all TAC programs and upcoming events; the background and media of artists contributing to exhibits and ArtShop; and the significant sponsors and benefactors of The Arts Center.

Store Staffing Management

Coordinate with the Community Engagement Manager to schedule volunteers and visitor services staff to ensure our retail and exhibition spaces are open and staffed for the public during open hours
Coordinate front-facing training of volunteers and visitor services staff front-facing training of volunteers and visitor services staff
- Use of POS software
- Customer service skills
- Conveying information about TAC exhibits (under the guidance of the Curator)
- Conveying information about upcoming TAC events and classes (under the guidance of program managers)

Required Skills and Experience

Minimum 3-years experience in a retail setting
Detail-oriented to accomplish required data/inventory management utilizing Point of Sales software.
Ability to create and interpret sales reports for tracking and evaluating the shop’s success: Daily/Monthly sales comparisons.
Interpersonal skills to interact with the visiting public in a welcoming and informative manner.
Ability to train volunteers and help them feel like an essential part of The Arts Center team.
Creatively maintain and present ArtShop inventory, creating a welcoming, attractive, informative space.
Clear written, verbal, and interpersonal communication skills.
Create, utilize, and navigate files across Google applications and Google Drive.

Preferred Skills

Experience working at a non-profit
Familiarity with the visual arts and ability to answer questions about media, styles, and processes
Marketing skills to connect visitors to the art makers.

Mission

The Arts Center inspires creativity and contributes to community well-being through equitable access to and engagement with the visual arts in the Greater Corvallis area. We collaborate to offer exhibitions, learning opportunities, artist development, and cultural events centered on art, artists and art enthusiasts.

Commitment to Justice, Equity, and Transparency

In the 1960s, artists, civic leaders, and multiple Oregon State University departments set out to establish the Corvallis Arts Council as the first community-based arts organization in the State of Oregon and 27th in the United States. In 2008, we changed our name to The Arts Center to include all people and groups seeking connection with the arts. We believe art is a welcoming portal for cross-cultural participation that connects people and creates community.

Toward a more just, equitable, diverse, and inclusive arts organization, The Arts Center embarked on an organization-wide process of learning and change in 2020. The Arts Center is committed to being an equity-centered organization and actively integrates justice, equity, and transparency into every aspect of our work. We welcome like-minded individuals to join our team and help us shape a better future for our organization and the communities we serve. For more information, please visit The Arts Center website at https://theartscenter.net.

Application Process

Submit a cover letter that shares why you wish to work with The Arts Center, and how your prior experience is relevant to the job description.
Submit a resume listing your education, training, and/or experience.
Send these items electronically to curator@theartscenter.net.
Position open until filled.
If you require any accommodation to complete this application, please contact curator@theartscenter.net or 541-754-1551, Ext 654.

Celebrating Perspectives

Vanessa Smith — Fri, 31 Jul 2026 00:02:53 +0000

Arts Blog by Sabra Comins

July 2026

With the country’s impending 250th birthday, I am taking my time to decide how to celebrate.

I know a piano professor who plans to recognize the 250 years by arranging a week-long program with music written by immigrant composers. Another concert boasts classical music by all American composers. Could they perform the same pieces?

A small community on the Olympic Peninsula prepares for their 15th annual Interdependence Day to celebrate the interconnectedness that sustains their region.

Oregon Humanities offers Beyond 250: Conversations About Democracy and Community throughout Oregon to provide space to reflect on our country’s past 250 years and contemplate where we aspire to be in the future. These facilitated discussions have weighty titles such as: Talking About Values Across Political Divides, To What do we Pledge? and Who are We the People?

I sign up for one of their discussions. When I walk into the Corvallis Library, I realize it is not a program where I can comfortably sit in the back and take notes. Nine of us seat ourselves in a circle of chairs to tackle the question: What does it mean to be American?

Our facilitator, Chisao Hata, is a performance artist, educator, arts integration specialist, and third-generation Japanese American living in Portland. Before leading us through activities, she gives us three rules to follow: speak from your own perspective, listen without judgement, and realize that different truths exist simultaneously.

We introduce ourselves with body gestures and feelings. Collectively, we are curious, open, present, thirsty, hungry, fatigued, interested, and alive. We walk through the room with a notecard and pen in hand to answer Hata’s question: When did you first realize you were American? Her words roll around in my mind; I increase my pace hoping to conjure an answer.

The difficulty of this query surprises me. I don’t have a specific memory when I know I am American. As a child, I identified as being Alaskan – though not Alaska Native – which felt distinct from being American.

When everyone stops walking to indicate they have an answer, Hata reminds us, “There is no right or wrong response.” We share stories of dads wearing military uniforms, an immigrant getting his American citizenship, and the youngest participant being temporarily separated from her mom to get through customs. I start to feel that my memory of being Alaskan has merit, though I still long for a defining moment that illustrates a greater awareness of others’ perspectives.

We share reflections like this in our monthly newsletter. If you’d like to receive them, you can subscribe here.

Speak from your own perspective.

Before going to this discussion, I tried to answer, What does it mean to be American? Every idea I thought could define an American also did not. An American could wear red, white and blue and be patriotic, or not. An American could be born or live on American soil, or not. Similarly, Americans could vote or pay taxes in the United States, or not.

For our next activity, we write one American value on each of three slips of paper, then work in groups to write a single sentence that incorporates all of the values. My group struggles with this and ends up excluding the words ownership and uniform. We write: Americans value a welcoming, free, protective, and open society; however division, selfishness, and greed seem closer to our current practices.

Listen without judgement.

Hata invites us to a mock cafe for our final activity. Half of us casually converse about the afternoon while the other half listen. Comments include: a struggle to assemble because of different values; a hope for a future that values the richness of our diversity; a need for balance with individual experience; a sadness for lofty values that don’t align with deportations; and a statement that if it was really bad, the country would be emptying out of people. We listen without responding, allowing everyone’s perspective to exist in this shared space, all true.

Different truths exist simultaneously.

We end the discussion with gestures and feelings. As a group, we are grateful, open, present, unsure, contemplative, worried, interested, and compassionate. Wrestling with these topics and hearing the opinions of others feels important. It helps me to decentralize my perspective, a worthy practice that acknowledges our need for one another, accepts multiple truths, and aids in discovering the diverse ways to celebrate 250 years.

In the spirit of collective perspectives and interdependence, in my studio this month I will exchange altered paper, textiles, or other media with artists to make art that reflects mutual reliance. Outside of my studio, I will explore two upcoming events (see below) to expand my awareness of Latinx culture and representation through monuments.

Happy celebrating!

Sabra

On July 10, Oregon Humanities and the Corvallis Museum will host Master Artist Michael Bernard Stevenson Jr. in presenting Monuments and Memorials: Who, What, Where, When, and Why?

Oregon Humanities Beyond 250 Conversations: Monuments and Memorials

On July 16, Unspoken / Unseen opens at TAC. This exhibition showcases work by Latinx artists who have selected art they feel is urgent to be seen now.

Unspoken / Unseen at TAC

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Sharon Servilio – Tactile Transmissions

Jennie Castle — Fri, 17 Jul 2026 23:18:05 +0000

Tactile Transmissions

Sharon Servilio

Corrine Woodman Gallery

July 28 – August 29, 2026

Meet the Artist during CAW: Thursday, August 20, 5:30 – 7 PM

About the Exhibition

Tactile Transmissions is a participatory installation that invites visitors to touch, hold, and interact with handheld objects that transmit ecological stories through form, pattern, and inscribed diagrams. Embroidered textiles and ceramic sculptures encode interspecies narratives such as pollination, the mycorrhizal system, and the life cycles of organisms. Servilio has watched these processes unfolding in her yard, around Portland, and under a microscope, deepening these observations with research from scientific papers, books, and local nature guides. The forms are inspired by Neolithic and Bronze Age artifacts that dissolve boundaries between domestic and sacred, human and non-human spheres. In the intimate space of the Corrine Woodman gallery, visitors can rest, be immersed, and contemplate our interconnectivity with an abundantly animate world.

Artist Interview

TAC curator, Jennie Castle had the pleasure of catching up with Sharon Servilio prior to the installation of Tactile Transmissions. Take a listen!

About the Artist

Sharon Servilio (she/her, b. 1983, New Jersey) received her BA from Brandeis University and her MFA from American University, with a focus on painting throughout her education. She then spent a formative decade in Queens, NY, where her work evolved into the third dimension as painted paper wall sculpture. She has lived and worked in Portland, OR since 2020, and has recently expanded her practice to include ceramics, textiles, and curation.

The Value of a Pause

Maggie Seldera-Bahnson — Fri, 03 Jul 2026 20:32:01 +0000

Arts Blog by Sabra Comins

June 2026

The Campus Ramble always surprises me. I race to OSU on my bike filled with looping thoughts of deadlines, a loved one’s pending surgery, and backyard weeds aspiring to reach the sun. Upon arrival, my time-lapsed morning is sud…den…ly paused.

Pause.

Twice a year, photographer Cub Kahn and writer Jill Sisson lead a themed walk to visit some lesser-known pockets on campus, and then host a follow-up gathering to share reflections and images. Open to everyone, the Campus Ramble, sponsored by OSU’s Spring Creek Project, invites participants to make connections with each other and place.

Feeling disoriented on pause, I inch along like a caterpillar among strangers. Someone reads a quote drawn from Jill’s magic bag while we stand around a circular patch of grass surrounded by a ring of pavers. The walk’s theme is circles. A metal totem-like sculpture stands to the south. We quietly observe the space, some of us being mindful to capture circles in our photos, writing, and sketches.

At a later stop, I lie along a log and close my eyes absorbing the sound of lesser goldfinches, the touch of a breeze across my face, and the scent of warming Douglas-fir trees. Feeling my shoulders settle against the bark, I resist the urge to sit up and document. I’ll need something to share at the follow-up meeting, I tell myself, an image or a couple of sentences to give meaning to the moment.

When it’s my turn to draw from the magic bag, I read from Margaret J. Wheatley, “Circles create soothing space.” The ensuing silence buoys us into exploration. I take more pictures than I normally do despite concerns that the overuse of cameras adds to feelings of isolation.

In a time when people are struggling to connect, I love coming together for a Campus Ramble. We witness the data-inspired sculpture titled Willamette Streamflow, a conifer grown from a seed that flew in the Apollo 14 moon landing mission, the curving architecture at the Women’s Building, and a peace tree grown from a seed of a persimmon tree that survived the atomic bombing in Hiroshima.

We share reflections like this in our monthly newsletter. If you’d like to receive them, you can subscribe here.

The feeling of togetherness that easily forms during the Ramble reminds me of an African philosophy I started reading about called ubuntu. Best represented by an African Bantu proverb, ubuntu is a way of being based on the concept that a person is a person through other persons.

Ubuntu emphasizes interactions with other people and a global perspective rather than individual interests. It exists when people unite for a common good, such as offering relief to those who are in need after a natural disaster. I wonder how our world would shift if we embraced this philosophy. I am because we are.

Returning to the Campus Ramble sites alone feels different. I am self-conscious of veering off path and crunching over rhododendron leaves next to classroom windows. I am not compelled to lie down (as I did before) to see patterns of interlocking limbs and leaves against the blue sky. I miss my Ramble team and wonder if any of them might be exploring on their own.

After glancing around to see who might be within sight, I Iie down again along my Ramble log. I close my eyes and feel freckles surfacing on my face. Listening for bumblebees and feeling the log’s support beneath me, my senses intertwine with this speck of a forest in an otherwise urban landscape. Welcoming the pause this time, I weave it into my being, even as its value slips in and out of view like the swaying tree tops above me.

Walking home I am surprised at the ease in my steps. I expect things of value to carry weight, but this pause has lightened my load by peeling back my urgency to produce and inviting my racing mind to rest. And when I again doubt the value of being still in our overly productive culture, I can borrow from ubuntu and remind myself that I ramble because we ramble.

In my studio this month, I’m adopting a community-oriented writing practice shared by Susan Piver. The steps sound simple – meditate, journal, designate time, and write – but the practice needs to be done in community. This will challenge my belief that writing is a solitary act, which is perhaps just what I need to invite more ubuntu into my life.

Happy being!

Sabra

Explore the OSU Campus Arboretum map and learn more about the natural spaces woven throughout campus.

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For Black Girls to Bloom

Jennie Castle — Thu, 02 Jul 2026 21:08:16 +0000

For Black Girls to Bloom

Collaborative ceramic tile installation with KinCultivate girls and community aunties

On View July 7 – August 1, 2026

Reception: Thursday, July 9, 5:30 – 6:30 PM in the Main Gallery

About the Exhibition

Rooted in Oregon’s Mid-Willamette Valley, KinCultivate is a Black-led organization supporting Black youth and their families. Developed through KinCultivate’s spring girls group, For Black Girls to Bloom features garden-inspired ceramic tiles and vibrant self-portraits by elementary-aged Black girls from Linn and Benton counties. Set among these works are ivory-colored tiles created by adult supporters and community aunties, quietly reflecting the protection and collective care that surround the young artists.

Realized in partnership with Maxtivity Creative Space for Community Arts, the project reflects KinCultivate’s mission in practice, honoring the beauty of Black girls’ becoming and the community responsibility required to nurture and sustain their growth.

Call to Artists – SpecTACular Art Auction

Maggie Seldera-Bahnson — Thu, 25 Jun 2026 17:15:00 +0000

SpecTACular Art Auction

Deadline to submit: September 8, 2026 at 11:45 pm PST

Learn more about SpecTACular: TACtv here

Submissions Now Open

About the Call

Artists are invited to submit to The Arts Center’s annual art auction, SpecTACular! This year’s event takes place over multiple nights in October with a 1980’s MTV theme.

The SpecTACular art auction is a salon-style exhibition and will be the FIRST exhibition mounted at The Arts Center 760! October 15^th – October 29^th during regular open hours. Additionally, an online auction site features the works beginning October 1st.

SpecTACular is a juried art auction and exhibition. The deadline to submit work via this form is September 8, 2026 at 11:45 pm PST. Artists will be notified of accepted work on September 17, 2026.

Important Dates:

Deadline for Submission: September 8, 2026 @ 11:45pm PST.
Notification of Acceptance: September 17, 2026.
Art delivered to The Arts Center 760: September 19 – September 25, 2026.
Online Auction Preview Opens: October 1, 2026.
Exhibit Opening Celebration: Thursday, October 15, 2025, 6:00 – 9:00 pm @ The Arts Center 760 as part of the Corvallis Art Walk. Free and open to the public.
SpecTACular: VMA Wine Pairing Dinner and Live Auction: Friday, October 16, 2026, 7:00 – 9:00 pm @ The Arts Center 760. Tickets required.
SpectTACular: TAC TV Party and Silent Auction: Friday, October 30, 2025, 7:00 – 10:00 pm @ The Arts Center 760. Ticket required.
Auction Closes: October 30, 2025, 9:30 pm.
Unsold artwork must be collected between November 2 and November 7, 2026, between 10:00 am and 5:00 pm, with extended hours on Wednesday until 7:00 pm.

Uncollected artwork will be considered abandoned.

RULES FOR ENTRY

Details

Entries must be submitted via our online submissions system at https://taccorvallis.wufoo.com/forms/q158rz9j1tolsa6/
Artists may submit up to three (3) works for the auction.
Each submission must be on a separate submission form.
Submission does not guarantee acceptance.
We will only accept artwork 36” x 36” x 24” or smaller.
We will only accept artwork under 50 pounds.
To engage the next generation of art collectors, we encourage submissions of small scale and/or lower price points
Art submitted for SpecTACular must be original works.
Eligible Media: Oil, watercolor, acrylic, gouache, pastel, pen & ink, charcoal, etching, woodcut/block, stone lithograph, serigraph, photography, bronze/metal sculpture, ceramic sculpture, wood sculpture, stone sculpture, mixed-media works, fiber/textile arts, basketry, beadwork or glass, digital art, non-traditional practices and methodologies. Digital Art must be original work that is able to be displayed in a physical gallery.
Ineligible Works: Wet paintings. Fine art prints are allowed, but not giclée. Any works considered unstable or in poor condition upon delivery are not acceptable, will not be displayed, and will be returned to the artist at their cost.
A jury process will determine the final works invited to the auction.
The event is a silent auction wall sale utilizing an online bidding platform that opens with a minimum bid of 50% of the artist-declared value of the work. TAC will offer a “buy-it-now” option during the October 16^th VMA Wine Pairing dinner at a fixed price of 200% of the declared value. Artwork that receives a “buy-it-now” purchase will remain on-view in the exhibition until the close of the auction on October 30th.
Selected artworks may be placed in the VMA Wine Pairing Dinner Live Auction on October 16^th.
All works must be exhibit-ready. Two-dimensional works (except for wrapped canvases) must be framed and fully prepared for hanging, with all hardware attached. Please indicate orientation on the back of the artwork if necessary. Glass or Plexiglas must cover works on paper.
Unless the artist elects to maintain their own insurance, The Arts Center will insure the object(s) under its insurance policy for the insurance value indicated in the entry form against all risks of physical loss or damage from any external cause while on location during the period of the exhibition. Entry into this exhibition constitutes the agreement to all conditions set forth in this prospectus.
Due to space limitations, not all submissions may be accepted.
Substitutions will not be allowed. Only the pieces selected through the jury process will be allowed in the show.

Artists who have works accepted into the auction exhibition will be compensated in the following ways (per artist, not per piece accepted, which ever is higher):

Artists with an accepted work donating 100% of the auction proceeds to TAC will be offered:

One complimentary ticket to the TAC TV Party on October 30th (not transferable, the artist must be the ticket holder and must RSVP that they will attend).
May purchase one additional TAC TV ticket for $25. Additional tickets are available at the regular ticket price of $75 for general admission and $100 for VIP admission.
Work will be listed as a Featured Work in the online auction and will include a link to the artist’s website in the description (if applicable).

Artists with an accepted work donating 50% of the auction proceeds to TAC will be offered:

Up to TWO TAC TV tickets for $25 each (not transferable; the artist must be the ticket holder and must RSVP that they will attend).
Additional tickets are available at the regular ticket price of $75 for general admission and $100 for VIP admission.
50% of the final sale price of the work.

Unspoken / Unseen

Jennie Castle — Wed, 17 Jun 2026 19:16:35 +0000

Unspoken /Unseen

No hablado / No visto

Angennette Escobar, Patricia Vázquez Gómez, v. maldonado, Laura Medina, Angela Sáenz, Santiago Savi

Main Gallery

July 16 – September 5, 2026

Unlocking Art in the Gallery: July 28, August 1, August 25 at 1 PM

Meet the artists during the Corvallis Arts Walk, Thursday, July 16, 5:30 – 7 PM.

*featured image Mesa de Abuelitas by v. maldonado

About the Exhibition / Sobre del Exhibición

Declaración de les co-curadores

Dedicado a nuestras abuelas ancestrales y su memoria amorosa.

Nuestro objetivo y nuestra esperanza al organizar esta exhibición grupal es humanizar y hacer visible la belleza compleja y la sabiduría de la gente Latinx y su cultura. Un pueblo en la diáspora moldeado por el Imperio, la colonización y el capitalismo. Desplazado y desarraigado, estereotipado y separado por la narrativa de la clase dominante.

El título de esta exposición consta de dos partes que unen los conceptos de lo no hablado y lo no visto. Ideas más allá de nuestros sentidos. Un concepto dual que equilibra y arraiga nuestros entendimientos tradicionales sobre la realidad contemporánea.

Cada artista en esta exhibición implementa su trabajo para dar voz a perspectivas usualmente ausentes de los entendimientos comunes sobre nuestras experiencias y realidades vividas. En cada uno de sus trabajos vemos manifestadas metodologías para existir al centro de una cultura de apropiación y desaparición.

Cada artista en esta exhibición fue invitade a compartir su voz auténtica, y trabajo que sentían urgencia de mostrar. Con eso en mente, como co-curadores, nos propusimos estar informades y sorprendides por les artistas en el proceso de seleccionar los trabajos. Esperamos que el público experimente el enfoque de esta exhibición con el cuidado y respeto con el que los trabajos fueron producidos y seleccionadas para la misma.

Les invitamos a que tomen su tiempo y les invitamos a nuestros espacios como familia.

~ Angennette Escobar & v. maldonado

Co-Curator Statement

Dedicated to our ancestral grandmothers; in their loving memory.

Our hope and goal in organizing this group exhibition is to humanize and make visible the complex beauty and wisdom of Latinx people and culture. A diasporic people shaped by Empire, colonization, and capitalism. Moved and displaced, stereotyped and separated by the narrative of the ruling class.

The title of this exhibition is in two parts that conjoin the concepts of the unspoken and that which is unseen. Ideas beyond our senses. A dual concept that balances and grounds traditional understanding with contemporary reality.

Each artist in the exhibition deploys their respective work to give voice to perspectives usually missing from common understanding of our lived experiences and daily lives. In each of their works we see manifest methodologies for existing amidst a culture of appropriation and erasure.

Each of the artists in the exhibition were invited to share their authentic voice and to share work they felt was urgent to see. With that in mind, as co-curators, we set out to be informed and surprised by the artists in the process of selecting the works. We hope that audiences experiencing this exhibition approach it with the care and respect in which the works were produced and selected for exhibit.

We actively encourage you to take your time and invite you into our spaces like family.

~ Angennette Escobar & v. maldonado