JSMA Biennial Report 2020-2021

Cover Image: Raymond Saunders (American, b. 1934). Untitled (detail), n.d. Mixed media on plywood, 60 1/4 x 48 1/8 in. Museum purchase with funds from the Edna Pearl Horton Memorial Endowment Fund, the Hartz FUNd for Contemporary Art, and the Museum Director’s Fund. 2021:18.1

Back Cover: Charles White (American, 1918-79). My God is A Rock, 1958, Linoleum cut, 23 3/4 X 47 in. Gift of Gary Weck and Anne Philips. 2021:19.1

Interior Cover Image: Carrie Mae Weems (American, b. 1953). In the Halls of Justice, from the series Dreaming in Cuba, 2002. Archival inkjet print, image: 16 x 15 in.; sheet: 24 x 21 in. Gift of the PhotoAlliance Board of Directors in honor of the artist. 2020:22.1

Director’s Biennial Report 2019-2021

This publication records the activities of the Jordan Schnitzer Museum of Art at the University of Oregon over the 2020 and 2021 academic years, a period shadowed by the profoundly unsettling impact of the novel coronavirus on human life and societies around the world. At the same time, the murders of Ahmaud Arbery, Breonna Taylor, and George Floyd triggered protests across the United States and a powerful resurgence and expansion of Black Lives Matter activism and institutional change. Along with other museums, universities, corporations, government entities, and virtually every social institution, the JSMA responded to the newly shifting conditions, demands, and questions. The museum’s galleries remained shuttered from March 14, 2020, until October 9, 2020, then closed again November 14, 2020, as infection case counts rose in Oregon. We reopened May 22, 2021, and have been open since then. Our Biennial Report is an attempt to distill and recount the most important aspects of the JSMA story over this span of time, expressed in reports and feature articles, lists of exhibitions and events, and of course, images. This report also announces the start of a new biennial cycle of annual reports; you can expect our next report in 2024, covering the 2022 and 2023 academic years.

Impact & Response to COVID

Exhibitions, collections, and people are the heart of museum work. Even during the pandemic, the JSMA continued to present new exhibitions to the public, add significant works to our collection, and engage our members, partners, and constituents through vigorous online educational programming. Looking back to the fall of 2019, the moment I arrived at the JSMA, it’s clear that the Ralph Steadman show marked a pre-pandemic turning point, unbeknownst to us at the time. The following winter we opened the Roger Shimomura and Carrie Mae Weems shows and unveiled Myriad Treasures in our beautifully renovated Betty and John Soreng Gallery. Then COVID hit. We scrambled brilliantly, soon offering everything we do online, essentially recreating every museum function in the virtual space of the internet. Instantly, our staff “pivoted” to create gorgeous online video tours, substantive PDF gallery guides, videos of lectures and talks, exhibition PowerPoints, and a comprehensive Remote Teaching web portal aggregating all of our online materials for easy use by faculty, students, teachers, and the general public. As a result, despite losing the entire spring term’s in-person student tours to the pandemic, in the 2020 academic year we served a record 10,200 students, representing 322 UO classes from 55 academic departments.

Later in 2020, with grant support provided by Art Bridges and a lot of staff talent, we launched an ongoing series of 360-degree virtual tours. Built from zoomable, high resolution photographs, the tours include links to wall texts, video, and audio related to the art on view, bringing the spatial feeling and experience of the gallery into homes and classrooms to an unprecedented degree. I’ve long been a proponent of 360-degree virtual tours as powerful tools for teaching and learning. They are also a great way to re-experience an exhibition you have already seen, to spend more time with wall texts and associated materials. If you haven’t taken a look at our gallery of virtual tours yet, I strongly encourage you to go for a stroll through our recent exhibitions, using as big a screen as you have! Go to jsma.uoregon.edu/VirtualTours to explore today.

Art in Action

Our last two years of exhibitions demonstrate that the presentation of an exhibition program both artistically scintillating and diverse in terms of race, gender, and culture was a core principle at the JSMA well before the overdue racial reckoning of the past years. In 2020, the Shimomura and Weems shows both offered hard looks at the history and persistence of racism in the U.S.—the internment of Japanese American citizens during World War II and the police killings of Black Americans. Exhibitions such as Nuestra imagen actual | Our Present Image: Mexico and the Graphic Arts 1929-1956, and Nkame: A Retrospective of Cuban Printmaker Belkis Ayón featured the creative accomplishments of artists in Latin American countries with a close relationship to the United States. In the Preble Murphy Galleries, we continued to explore the histories of Japanese art and printmaking with exhibitions such as Rhapsody in Blue and Red: Ukiyo-e Prints of the Utagawa School, featuring stellar works from the collection of Lee and Mary Jean Michels. Artists from Oregon appeared in shows such as Metamorphosis: Visualizing the Work of Paul Hindemith, a collaboration with the Eugene Symphony, in the Hallie Ford Fellows exhibition, and in Artist Project Space, the work of Ashland’s Claire Burbridge and Portland’s Tom Cramer.

Two projects of the 2021 academic year made a particular statement about art’s role in the long struggle for racial justice. In June of 2020, aggrieved by the murders of Ahmaud Arbery, Breonna Taylor, and George Floyd, and motivated by his own long history of collecting work by Black artists, Jordan Schnitzer called to propose and fund a collaboration between his foundation and the JSMAs of the UO, Portland State University, and Washington State University to offer 60 grants of $2500 to artists in the region of each university and museum, in support of Black Lives Matter. Working via Zoom meetings, the staff of each of our museums and Jordan’s staff assembled local grant selection panels, set up an online application portal, got the word out, and evaluated applications. Grants were announced in the fall of 2020, and the UO JSMA opened our exhibition in early July 2021, the first of the three exhibitions to premier. Although it falls outside of the calendar purview of this biennial report, I am happy to report that the exhibition and its reception by our public have been a huge success, a testimony to Jordan’s conviction that Oregon artists would offer powerful support to Black Lives Matter, and that artists needed to be heard from more than ever at this moment.

Above (detail): Gregory Stanley Black, (American). A Black Rainbow Of Color, 2019. Photograph, 20 x 16 inches. Courtesy of the artist. L2021:34.1

Bottom left: Anthony Adonis Lewis (American, b. 1948 Trinidad). How Many More?, 2020. Mixed media: drawing and digital. 26 x 38 in. Courtesy of the artist. L2021:41.2

The second exceptional project of the past two years was Carrie Mae Weems’s RESIST COVID | Take 6! Responding to the pandemic, it was a nationwide art and public information campaign that joined encouragement of good health practices with a pointed message about the virus’s disproportionately high impact on communities of color. RESIST COVID encompassed billboards, lawn signs, window and wall posters, bookmarks, buttons, and shopping bags. With support from the UO President’s Office, the Division of Equity and Inclusion, Lane County Public Health, the Cities of Eugene and Springfield, the Eugene/ Springfield chapter of the NAACP, FastSigns, Homes for Good, the UO Center for Art Research, and many other community partners, the JSMA helped get Weems's message out across the Eugene/Springfield area. Our participation included three large billboards on major traffic routes, extensive downtown poster displays, lawn sign distribution, banners, and two dramatic installations on our front façade. We thank Carrie Mae Weems for her vision, and all of our community partners for their support!

Collections Growth

The growth of our collection is outlined in another part of the Biennial Report, but I can’t resist mentioning a few highlights. These include: a magnificent donation of Meiji era Japanese prints from Irwin Lavenberg; significant sculptures by Rubén Trejo and Berlinde de Bruyckere, the latter a donation by Tony Podesta; a choice example of modern Korean celadon ceramics donated by Kyung Gregor and her husband John; a crowd pleasing video by Korean video artist LEE Lee-Nam; a stunning painting by Raymond Saunders; and Charles White’s moving 1959 linocut, My God is a Rock, donated by Gary Weck and Ann Phillips of Eugene. We also welcomed to the collection a suite of works by the noted Puerto Rican printmaker, Myrna Baez, and two works by Rockwell Kent, donated by David and Marcia Hilton in honor of UO President Mike Schill. In the area of photography, we acquired works by Carrie Mae Weems and Terry Toedtemeier, a portfolio by Bay Area photographer Lewis Watts, and a portfolio of works donated by the Bay Area PhotoAlliance, all of which have significantly strengthened our collection. Together, these works and many more have added both depth and significant diversity to the JSMA’s permanent collection, building the strength and range of our capacity as a teaching museum.

Art Heals

The JSMA’s Art Heals program encompasses a variety of museum-led group activities that employ art activities to promote health, often conducted in partnership with Oregon hospitals and other healthcare organizations. One of the most intriguing, unexpected, and encouraging developments of life under COVID was the dramatic geographical expansion and increased participation in Art Heals programs, such as our Madres Club for Latina moms. After moving the program online, we began seeing participants from around the state, in numbers that were routinely double and triple the size of our pre-COVID on-campus groups. This has raised the fascinating question of whether we should permanently offer this program and some others either solely online, or in some form of hybrid, regardless of health concerns. But, it is clear that for Art Heals, and with some of our public talks and programs, there is a virtual audience that can equal and exceed the audience able and willing to come to our building.

Shared Visions

Another bright spot of the pandemic time has been the rebranding and strength of our Shared Visions program of loans from collectors. Formerly called Masterworks on Loan, Shared Visions was rebranded in 2020, with the new name emphasizing jointly the sharing of artists’ visions, and the sharing of their work by our lenders. In the past two years, brilliant works by artists such as Lorna Simpson, Ruth Asawa, Gerhard Richter, Mark Bradford, Yayoi Kusama, Wayne Thiebaud, Andy Warhol, Jenny Saville, Julie Mehretu, Egon Schiele, Jean-Michel Basquiat, Cy Twombly, Theaster Gates, Pablo Picasso, Alex Katz, Louise Bourgeois, and many more have graced our galleries. I walk our galleries regularly with visiting artists, colleagues from other museums, art gallery owners, and contemporary art lovers of all sorts, and they routinely express amazement and excitement at the work they see here. Thanks to this program, our students can experience firsthand many of the most significant artists of our time and of the modern era. And as the pandemic drove home to all of us, seeing art on a computer screen just isn’t the real deal.

Jennifer Bartlett (American, 1941-2022). At Sea, 1979. Woodcut and screenprint on paper. 22 ½ x 95 ¼ in. Komal Shah and Guarav Garg Collection. L2019:91.1

New Faculty Engagement Group

As a university-based teaching museum, our work with faculty and students is crucial and central to our mission. To deepen and expand that work, we launched a new Faculty Engagement Working Group (FEWG) in FY21. Chaired by English Professor Paul Peppis, a Leadership Council member and Director of the UO Humanities Center, it includes a stellar group of UO faculty from across the curriculum who meet with JSMA staff to exchange ideas and discuss potential areas of collaboration. Despite the challenges of launching the group during a “remote year,” we can already see the benefits of the FEWG as a fertile source of program ideas and information exchange. We truly appreciate the FEWG faculty for working with us during a time that has stretched their energies and capacities to an unprecedented degree.

Leadership Council and Development News

I also want to say a big thanks to the members of our JSMA Leadership Council (LC) for the work we accomplished over the past two years, and offer a special thanks to LC Presidents Randy Stender and Ellen Tykeson, and Vice President Sarah Finlay for their hours of work, steadfast support, insight, and all-around good vibes. With their help, over the past two years we streamlined our committee lineup, retiring four committees and adding two new ones devoted to Education and Communications & Engagement. I’m delighted with the new structure, the members we’ve added, and the new ideas and connections both committees are bringing to the museum. I’m gratified to report as well that the LC is significantly more diverse than it has been in previous years, and we have seen the benefits of that immediately in connecting us more strongly to valued partners on and off campus. Finally, to ensure that we stay in touch with Leadership Council members even after they leave the council, we established a new Leadership Council Emeriti group, putting us back in contact with much-appreciated LC veterans both locally and nationally. I look forward to carrying that work forward in the coming years.

Fundraising and membership activities rely heavily on personal connections, contacts, events, and in-person activities. That has been challenging during the pandemic period, to put it mildly. Particularly as a new director here, I have missed that firsthand contact. Nevertheless, we have taken advantage of the widespread adoption of Zoom chats, online gatherings, and masked meetings at the museum to stay in touch with supporters. As a result, the JSMA achieved strong fundraising success over the past two years and finished Fiscal Year 2020-2021 with a small budget surplus.

Contributing to our solid bottom line, we received welcome grant support from a number of regional and national foundations over the past two years, including Art Bridges, the Coeta and Donald Barker Foundation, The Ford Family Foundation, the W.L.S. Spencer Foundation, the Oregon Arts Commission, and COVID-responsive funding from the Oregon Cultural Trust and the state of Oregon. We thank our foundation partners and look forward to working together in the coming years.

Gratitude

In closing a few heartfelt words of appreciation:

My thanks to Jill Hartz, who retired as the JSMA’s Executive Director at the start of the 2019-2020 academic year. She made huge contributions to the museum and moved it forward dramatically during her tenure. Thank you, Jill, from all of us!

To the JSMA Staff and the dozens of students who work with us: thank you from the bottom of my heart for your hard work over the past two incredibly challenging and stressful years. Your dedication and resilience impress me daily, and keep this museum going.

To the faculty and UO staff who work with us: thank you for making the museum and the art we hold and show a part of student learning at the University of Oregon. Without you, only a fraction of our students would find their way to the museum.

To our Leadership Council, members, and supporters: thank you for your support, and for sticking with us even when you could not visit. Now that our doors are open to you again, I encourage you to visit often with friends and family. I hope that your time away has made the experience of seeing art in person again all the more meaningful in your life.

John Weber Executive Director

Our Vision for the JSMA

VISION

The Jordan Schnitzer Museum of Art aspires to be one of the finest university art museums in the world.

BELIEF

We believe that knowledge of art enriches people’s lives.

MISSION

The Jordan Schnitzer Museum of Art enhances the University of Oregon’s academic mission and furthers the appreciation and enjoyment of the visual arts for the general public.

Our Constituents

The museum’s primary constituents are the University of Oregon’s students, faculty, and staff as well as K-12 students and teachers throughout Oregon, regional residents, and visitors. Our varied activities and web presence extend our service to an even wider audience of scholars, artists, collectors, critics, and museum professionals.

Values

• The museum experience enriches people’s lives.

• We contribute to the education of university students and help them become culturally competent global citizens.

• We recognize our visitors’ different learning styles and the needs of multigenerational and culturally diverse audiences.

• Our visitors will have enjoyable museum experiences that make them want to return.

• Our collections, programs, and research are of the highest quality.

• We follow the highest ethical, academic, and professional standards.

• We find collaborative opportunities on- and off-campus that make the museum central to learning and building diverse audiences.

• We value our visitors’ feedback and incorporate their recommendations to improve future visitor experiences.

• We are committed to sustaining a positive and productive work environment for staff and volunteers.

KEY STRATEGIES Programs

The museum presents stimulating, innovative, and inclusive programs and exhibitions that enhance the academic curriculum, emphasize cross-cultural understanding, provide broad education experience, and support collaborative and interdisciplinary opportunities on- and off-campus. Ongoing evaluation measures how effectively the museum’s program goals are being realized.

Collections

The museum collects, preserves, studies, exhibits, and interprets works for the benefit of the University of Oregon curriculum and for the enrichment of the general public. The JSMA is dedicated to strengthening its American, Asian, European, Latin American, and Pacific Northwest art collections and to acquiring fine examples from the history of art, from earliest times to the present, representing cultures throughout the world.

Research & Publications

The museum supports high-quality research on its collections and programs by its staff, University of Oregon faculty, students, and others who use its resources. Research is made accessible through teaching, exhibitions, programs, publications, and online.

Funding & Development

The university allocates funds for staff, operations, security, and facility maintenance to the greatest extent possible. The museum raises revenue for all programs not covered by the university’s general fund from diverse sources, including earned income, individuals, foundations, corporations, and local, state, and federal grants agencies. The museum is committed to a balanced budget model. The Leadership Council is a key support group, raising money and advocating for the museum.

Communications & Marketing

Internal communications are proactive, direct, and honest, aiming for transparency and inclusivity by and among all University of Oregon staff and volunteers. External communications represent the full range of museum functions and services and are proactive, timely, direct, and engaging, while delivering a clear, consistent message.

Visitor Experience

The museum aims to provide consistently high-quality programs and customer service that enhance visitors’ on-site and online artinspired experiences, leading to ongoing engagement with the

museum. The museum is committed to building culturally diverse audiences, reflective of on- and offcampus demographics.

Facilities

The museum performs effective and efficient maintenance for the overall care of its facilities, including following preventative maintenance schedules, conducting timely HVAC/mechanical and equipment inspections, and other related work. The museum ensures that exhibition and work areas are clean and maintained at the highest standard possible and that detailed condition reviews and reports are completed on a regular basis.

Risk Management

The museum develops, implements, and monitors preventative plans and maintains a comprehensive security program for minimizing risk to the collections, human life, and the museum facility at all times, during regular operations and from unexpected threats and emergencies.

Management & Governance

The museum employs strong, competent leadership that is financially prudent, encourages achievement, and measures performance against standards of excellence. The university’s administration and the museum’s Leadership Council are supportive and informed advocates of the museum. The Executive Director and senior staff are responsible for developing, implementing, reviewing and revising the longrange plan with input from the museum’s constituents, including the Leadership Council.

Human Resources

The museum employs and trains competent staff and volunteers who strive for excellence. The museum supports diversity training and professional advancement opportunities for its staff and volunteers and provides training opportunities for students interested in the museum profession. The museum follows the University’s human resources procedures, including annual evaluations.

Ethics, Academic & Professional Standards

The museum, its employees, and volunteers adhere to the highest academic, ethical, and professional standards of the University and the American Alliance of Museums in all that they do on behalf of the museum. This commitment is realized in the museum’s commitment to maintain its accreditation from the AAM.

Leadership Council & Support Groups

The Leadership Council serves as the museum’s primary advisory and fundraising body of volunteers, and helps to ensure the museum’s artistic quality, educational integrity, and financial strength. Museum members, Exhibition Interpreters, and other support groups are integral to the museum’s ability to fulfill its mission.

COETA AND DONALD BARKER GALLERY

EXHIBITION HIGHLIGHTS

Ralph Steadman: A Retrospective

October 5, 2019 to January 19, 2020

Ralph Steadman’s highly popular solo exhibition featured more than one hundred works displaying the visual legacy of one of the most influential British graphic artists of the last fifty years. Famous for his long collaboration with Hunter S. Thompson, Steadman long ago attained cult status and continues to influence artists from around the globe. A highlight of the show was a live Zoom video tour with Steadman in his studio in England, discussing his life, work, and ideas in an uncanny prelude to the many Zoom events that dominated life during the pandemic. The exhibition was curated by Anita O’Brien and Chris Miles and produced by The Ralph Steadman Collection with support from Flying Dog, United Therapeutics, and Audible.

Left: Ralph Steadman (British, b.1936). ‘Don’t draw, Ralph! It’s a filthy habit…’ HST. Self-Poortrait, Stop Smiling - The UK Issue, Issue No. 26, 2006, 2006. Pen, brush and ink on paper with celluloid and collage and piece of ink-splattered paper from desk. 35 ¼ x 24 ½ in. Ralph Steadman Collection. L2018:170.60

Roger Shimomura: By Looking Back, We Look Forward February 8 to June 15, 2020

Roger Shimomura channels outrage and despair into provocative art, using a brightly colored Pop-Art style to depict a combination of exaggerated cultural stereotypes to interrogate popcultural icons, notions of race, self-portraiture, and current political affairs interpreted through his family’s World War II experience. Using dark humor to lampoon hypocrisy and promote social justice, many of his works explore the experience of “forever foreigners”—visual minorities perceived as outsiders—and the terrible toll such judgments can take during times of political strife. Curated by Anne Rose Kitagawa, this exhibition was drawn from the Collection of Jordan Schnitzer, augmented with loans from the artist, gallerists Sherry Leedy and Greg Kucera, and works from the permanent collection.

Bottom left: Roger Shimomura (Japanese-American, b. 1939). American vs. Japanese #3, 2011. Acrylic on canvas, 54 x 54 in. Loan from Collection of Jordan D. Schnitzer (HIPM). L2019:99.8

Right: (Detail) End of the Rainbow, 2004. Lithograph with chine collé; ink and color on paper, edition AP. 22 ½ x 27 ½ in. Gift of Greg Kucera and Larry Yocom, Given in Honor of Larry Fong. 2014:44.18

Nkame: A Retrospective of Cuban

Printmaker Belkis Ayón

February 6 to September 5, 2021

The JSMA was pleased to host Nkame: A Retrospective of Cuban Printmaker Belkis Ayón, a solo exhibition dedicated to the work of the late Cuban artist. During her short but fertile career, Belkis Ayón (1967-1999) produced an extraordinary body of work central to the history of contemporary printmaking in Cuba and abroad. She mined the founding narrative of the Afro-Cuban all-male Abakuá Secret Society to create an independent and powerful visual iconography. Nkame included forty-eight prints, many of them combined to make large, installation-scale environments, and audiovisual materials that encompass a wide range of the artist’s graphic production. Nkame was curated by Cristina Vives and organized by the Belkis Ayón Estate, Havana, Cuba, with the Jordan Schnitzer Museum of Art, with the tour managed by Landau Traveling Exhibitions of Los Angeles. The exhibition premiered in the United States in 2016, and in 2017 ArtNews magazine named it one of the top ten exhibitions in the world.

Belkis Ayón (Cuban, 1967-1999), (Detail) Sin título (Sikán con chivo) [Untitled (Sikán with Goat)], 1993, collagraph. 31 x 26 in. Courtesy of the Estate of Belkis Ayón

THE HAROLD AND ARLENE SCHNITZER GALLERY

EXHIBITION HIGHLIGHTS

Carrie Mae Weems: The Usual Suspects

January 18 to May 3, 2020

Nationally celebrated Portland-born artist Carrie Mae Weems used photography, video, and installation to examine contemporary life and the African-American experience in her exhibition The Usual Suspects. Through this body of work created between 2014 and 2018, Weems asks, “How do you measure a life?” and looks at the constructed nature of racial identity— specifically, representations that associate Black bodies with criminality, and the resultant killings of Black men, women, and children without consequence. Opening shortly before the COVID-19 lockdown, Weems’s exhibition both preceded and coincided with the murders of Ahmaud Arbery, Breonna Taylor, and George Floyd that triggered nationwide protests and action seeking to end the long-standing conditions so tragically documented in her work. Carrie

Mae Weems: The Usual Suspects was organized by Louisiana State University Museum of Art.

Left: Carrie Mae Weems (American, b.1953), All the Boys, (Profile 1) (detail), 2016. Archival pigment mounted on gesso board, one part of diptych. 25 3/8 x 27 3/8 in. Courtesy of the artist and Jack Shainman Gallery, New York. L2019:87.1a

Above Middle: Carrie Mae Weems (American, b. 1953), Laquan: A Timeline, 2018. Archival pigment print mounted on gesso board. 31 3/16 x 46 ¼ in. Courtesy of Jack Shainman Gallery. L2019:87.8a-e

Nuestra imagen actual | Our Present Image: Mexico and the Graphic Arts 1929-1956

October 3, 2020 to February 14, 2021

The JSMA and the Portland Art Museum (PAM) co-organized Nuestra imagen actual | Our Present Image: Mexico and the Graphic Arts 1929-1956. Curated by Cheryl Hartup, Curator of Academic Programs and Latin American and Caribbean Art at the JSMA, with the assistance of Mary Weaver Chapin, Curator of Prints and Drawings at PAM, the exhibition aimed to deepen and broaden the understanding and appreciation of the graphic art of post-revolutionary Mexico, a landmark in the history of twentieth-century printmaking and modern art. The exhibition presented sixty-two lithographs, woodcuts, and wood engravings by twenty-two artists, including Elizabeth Catlett, Leopoldo Méndez, José Clemente Orozco, Diego Rivera, David Alfaro Siqueiros, Rufino Tamayo,

Yampolsky, and other members of Mexico’s world famous Taller de Gráfica Popular (Popular Graphic Art Workshop; established in 1937). The majority of the prints were drawn from PAM’s exceptional print collection, including Siqueiros’s Nuestra imagen actual, a timeless and universal image of subjugation and torture that inspired the title of the exhibition.

Mariana

Bottom left: David Alfaro Siqueiros (Mexican, 1896-1974). Nuestra Imagen Presente (Our Present Image), 1945. Lithograph on cream wove paper, Sheet: 18 ¾ x 12 13/16 in.; Image: 11 13/16 x 9 in. Loan from the Portland Art Museum; Museum Purchase: Marion McGill Lawrence Fund. L2020:41.40

Bottom middle: Jésus Escobedo (Mexican 1918-1978). El Fascismo: Como Combatir el Fascismo (Fascism. 8th Lecture. How to Combat Fascism), 1939. Lithograph on paper, Sheet: 18 3/16 x 26 ½ in.; Image: 17 x 23 5/8 in. Loan from the Portland Art Museum; Museum Purchase: Marion McGill Lawrence Fund. L2020:41.53

Metamorphosis: Visualizing the Music of Paul Hindemith

March 6 to June 14, 2021

The COVID-19 pandemic and its closures of museums and performance spaces disrupted our original timeline for Metamorphosis in 2020, but happily the JSMA was finally able to present new works by Oregon artists Mika Aono, Anna Fidler, Andrew Myers, and Julia Oldham in the spring of 2021. The result of a multi-year collaboration with Eugene Symphony Music Director and Conductor Francesco Lecce-Chong, this exhibition was inspired by German composer Paul Hindemith’s orchestral masterpiece Symphonic Metamorphosis on Themes of Weber (1943). Videos of the artists’ works (created by JSMA design services manager Mike Bragg and featured artist Julia Oldham) accompanied the Eugene Symphony’s live performance at the Hult Center for the Performing Arts in February 2022.

THE BETTY AND JOHN SORENG GALLERY EXHIBITION HIGHLIGHTS

Myriad Treasures: Celebrating the Reinstallation of the Soreng Gallery of Chinese Art

February 8, 2020 to June 30, 2022

The Museum has long been defined by the generosity of donors, originally Gertrude Bass Warner (1863-1951), whose initial donation forms the core of our Asian collection. In 2019, our Chinese gallery finally underwent a long-awaited renovation with support from Betty Soreng and others who helped update the facility to a level commensurate with the high quality of the collection. The inaugural display featured four millennia of Chinese art from Warner’s legacy gift and exciting subsequent acquisitions, and included ceramics, bronzes, paintings, calligraphy, textiles, decorative art, and modern and contemporary works. Organized by Anne Rose Kitagawa, this reinstallation celebrated a century of cross-cultural engagement and heralded exciting future faculty and student research.

Left, bottom: WANG Qingsong (Chinese, b. 1966). Knicknack Peddler, 2002. Inkjet print. 23 ¼ x 78 in. Gift of Jack and Susy Wadsworth Collection of Contemporary Chinese Photographs, 2018:38.1

THE FAY BOYER PREBLE AND VIRGINIA COOKE MURPHY WING

EXHIBITION HIGHLIGHTS

Evocative Shadows: Art of the Japanese Mezzotint

October 26, 2019 to July 5, 2020

Mezzotint means “half-tone,” referencing the technique’s capacity to produce a broad range of deep blacks through bright whites. When first developed in Europe in the seventeenth century, mezzotint’s tonal richness caused a sensation and was used to create reproductions of paintings. After the invention of photography, it nearly died out. Its revival can be credited to Japanese printmakers who exploited its expressive possibilities. Co-curated by Art History Professor Akiko Walley and Anne Rose Kitagawa, this exhibition featured mezzotints by various Japanese artists, focusing on Hamanishi Katsunori (born 1949), about whom the JSMA published a monograph with support from Elizabeth Moyer and Michael Powanda.

HAMANISHI Katsunori (Japanese, b. 1949). Game Work No. 10, 1983. Mezzotint; ink on paper, 9 x 13 7/8 in. Purchased with a gift from Elizabeth D. Moyer & Michael C. Powanda. 2020:6.1a

Rhapsody in Blue and Red: Ukiyo-e Prints of the Utagawa School

October 3, 2020 to July 17, 2021

In 2020, Art History Professor Akiko Walley and Anne Rose Kitagawa taught a course on Japanese prints of the Utagawa School. Fifteen UO undergraduate and graduate students studied the formation and development of this important artistic lineage and learned about exhibition planning and design in order to contribute to this installation, which featured loans from the Lee & Mary Jean Michels Collection. Organized by Walley and Kitagawa to reflect the students’ ideas and research, it also included Japanese paintings, armor, and assorted decorative and modern arts that were the focus of various classes.

Top: UTAGAWA Kunisada (Japanese, 1786-1864). Garden, Felicitation and Beauty, ca. 1860. Ukiyo-e woodblock-printed triptych; ink and color on paper, 14 1/8 x 8 5/8 in. Loan from the Lee & Mary Jean Michels Collection. LMM.0148a-c

Bottom, right: UTAGAWA Kuniyoshi (Japanese, 1797-1861). Sakata Kidomaru, ca. 1830-44, Ukiyo-e woodblock print; ink and color on paper, 14 7/8 x 28 ¼ in. Loan from the Lee & Mary Jean Michels Collection. LMM.0601

THE WAN KOO AND YOUNG JA HUH WING AND JINJOO GALLERY

EXHIBITION HIGHLIGHTS

Kwang Young Chun: Aggregations

August 24, 2019 to June 15, 2020

Kwang Young Chun combines hundreds of paper-wrapped parcels to create sculptural compositions that look like crystal formations, asteroids, or the surface of the moon. Drawing on his training in abstract painting and memories of childhood, when Korean apothecaries sold medicine in little bundles, he wraps each parcel in old book pages and likens them to cells, or units of information, seeing analogies to chemistry and the human condition. One work from the JSMA (acquired in 2018 from UO alumnus Sundaram Tagore) was featured, along with others from a special exhibition organized by the Brooklyn Museum of Art.

Bottom: Kwang Young Chun (Korean b.1944), Aggregation 17 – SE078 (detail), 2017. Mixed media with Korean mulberry paper. 72 x 60 in. ART MORA Gallery. L2019:49.2; C

Korean Ceramic Culture: Legacy of Earth and Fire

January 10, 2021 to May 8, 2022

Focusing on fifteen centuries of Korea’s celebrated ceramic tradition, the works in this exhibition ranged from sixth-century earthenware vessels to luminous Goryeo-dynasty (9181392) celadons, and from rustically decorated Joseon-period (1392-1910) porcelains through contemporary works that reinterpret the past and forge new creative directions. These ceramics were juxtaposed with Korean paintings, textiles, photographs, and time-based art that provide aesthetic and cultural context. The exhibition was co-organized by Anne Rose Kitagawa and 2019-20 JSMA/Korea Foundation Global Challengers Museum Intern Bokyoung Hong, a specialist in early East Asian ceramics, who spent six months researching the JSMA’s Korean collection and planning this exhibition before returning home early, due to the pandemic.

Left: LEE Jae Won (Korean, b.1961). Blooming Elsewhere, 2017. Porcelain, colored porcelain, monofilament, porcelain & glass beads, metal hooks. 40 x 25 in. Gift of Lee Jae Won. 2017:44.1

Top right: OH Chun Hak (Korean, 1948-2005). Life of Nature 2000 – II, 2000. Stoneware clay body. 14 x 21 x 10 in. Gift of the artist with assistance by International Arts & Artists, the Korea Foundation, and the E. Rhodes and Leona B. Carpenter Foundation. 2010:1.12

Bottom right: SHIN Sang Ho (Korean, b. 1947). Round Bottle with Slender Flaring Neck and Flying Crane Decoration, ca. 1973. Inlaid celadon ware: light gray stoneware with celadon glaze over decoration inlaid in white slip. 11 x 8 in. Gift of John and Kyungsook Cho Gregor in memory of Chee Shik Shin and Hai Soon Cho. 2021:6.1

ARTIST PROJECT SPACE

Claire Burbridge: Pathways to the Invisible

January 15 to April 19, 2020

Claire Burbridge presented works made between 2015 and 2019, including several new pieces informed by a visit to Iceland and a Percent for Art state commission, during winter 2020. The exhibition’s title, Pathways to the Invisible, referenced Burbridge’s almost microscopic examination of nature and her beautifully drawn imaginary worlds. The show was curated by Jill Hartz, former executive director of the JSMA.

Above: Claire Burbridge (British, b. 1971). Laocoön, 2016. Pen and ink, 48 x 48 in. Loan courtesy of the artist. L2019:120.2

Opposite page, bottom right: Claire Burbridge (British, b. 1971). Schöner Wald, 2018. Pen, ink, and gouache on paper, 92 x 48 in. Anonymous Loan. L2019:119.1

Steve Rowell: Uncanny Sensing, Remote Valleys

January 23 to March 28, 2021

During winter 2021, Steve Rowell’s multicomponent project, Uncanny Sensing, Remote Valleys (2013-20) investigated ecology and post-natural landscapes. The artist collected images, audio clips, and data from autonomous aerial cameras, air-monitoring sensors, and sound detectors to create an immersive installation. The work’s title combines “remote sensing” (a method of data collection from the physical world via sensors and other remote technology) and “uncanny valley” (the cognitive dissonance caused by lifelike replicas of living things). In February 2021, Dr. Emily Eliza Scott, Assistant Professor of Art History and Environmental Studies, moderated a public Zoom program with Rowell about his methods and how we understand, perceive, and experience the environment through technology.

Bottom, left: Steve Rowell (American, b. 1969). Uncanny Sensing, Remote Valleys, 2013-20. Capture from HD video. Varied dimensions. Loan courtesy of the artist.

FACULTY COLLABORATION

Clockwise from top left: Nitan Avivi (fourth-year undergraduate), Constellation I, from the series Constellations of Mathematics, 2020. Digital print on paper. Loan courtesy of the artist.

Gabby Bennett, Constellations of Mathematics 2, 2020. Digital print on paper. Loan courtesy of the artist.

Andy Huchala, The Sand Reckoner, 2020. Digital print on paper. Loan courtesy of the artist.

Cruz Godar, Minotaur’s Paradise, 2020. Digital print on paper. Loan courtesy of the artist.

Martin H. Weissman, 36 Epicycles, 2020. Digital print on paper. Loan courtesy of the artist.

Creativity Counts: Possibilities Shaped by Constraints of Arithmetic

April 10 to July 11, 2021

JSMA’s commitment to academic support includes faculty and students in all disciplines, not just the arts and humanities. E. E. Eischen, Associate Professor in the Department of Mathematics, developed a new undergraduate course offered spring term 2020— “Math and the creative process: A participatory exploration of number theory.” This project-based class immersed students in creative, abstract problem-solving, with an emphasis on developing skills to explore and communicate about pure mathematics. For their final project, students produced twodimensional visualizations of topics related to number theory. The resulting exhibition shared the visual beauty and aesthetically pleasing patterns of abstract mathematics.

COMMON SEEING EXHIBITION HIGHLIGHTS

Resistance as Power: A Curatorial Response to “Under the Feet of Jesus”

September 7, 2019 to February 23, 2020

Under the Feet of Jesus, the UO’s 2019-20 Common Reading book selection, inspired the JSMA’s Common Seeing theme, Resistance as Power. This exhibition included two works on loan from the Smithsonian American Art Museum (Farm Workers’ Altar, 1967, by Emanuel Martinez and Braceros, 1960, by Domingo Ulloa) that provided historical and cultural touchstones for the 1995 novel and contemporary works from the JSMA’s permanent collection (including recent acquisitions by Ester Hernández, V. Maldonado, and Lilliam Nieves). Under the Feet of Jesus author Helena Maria Viramontes toured the gallery with faculty and students in October 2019. During Winter Term 2020, visiting artist and Latinx cultural worker Gilda Posada led Latinx Scholars ARC students in a screen-printing workshop in response to the exhibition’s themes of identity, cultural heritage, workers’ rights, and social justice.

Left: Ester Hernandez (Chicana of Yaqui and Mexican heritage, b. 1944). Sun Mad, 1981. Screen print on paper, third edition, 19/56. 30 x 22 in. Museum Purchase in honor of Jill Hartz. 2019:30.1

Bottom, right: Domingo Ulloa (American, 1919-97). Braceros, 1960. Oil on masonite. 36 x 49 in. Smithsonian American Art Museum, Gift of Eugene Iredale and Julia Yoo. L2019:80.2.

Left: Alison Saar (American, b. 1956). Sorrow’s Kitchen, 2020. Wood, tin, acrylics, spray tar, ceiling tin and linoleum. 28 x 12 x 10 in. Collection of Jordan D. Schnitzer. L2020:110.7

Bottom, right: Hank Willis Thomas (American, b. 1976). An All Colored Cast, 2019. UV print on retroflective vinyl. 98 x 132 ¼ in. Collection of Jordan D. Schnitzer. L2020:110.1a-c

LOOK. Listen. Learn. Act.

January 9 to June 14, 2021

The 2020-21 Common Seeing responded to the UO’s anti-racism initiative “Listen. Learn. Act;” the novel This is My America by Kimberly Johnson, UO Vice Provost for the Division of Undergraduate Education and Student Success; and the New York Times Magazine’s The 1619 Project. The exhibition included powerful works by Hank Willis Thomas and Alison Saar from the collection of Jordan D. Schnitzer, and by Lezley Saar and Kara Walker from the JSMA’s permanent collection. Thomas’s An All Colored Cast featured a grid of 36 archival headshots of Black, Latinx, and Asian-American entertainers obscured beneath Andy Warhol-inspired blocks of color. These portraits could only be viewed when a directional external light, such as a camera flash, or specially filtered glasses were used. With this, Thomas critiqued Hollywood’s double-edged treatment of BIPOC performers.

THE JOHN AND ETHEL

MACKINNON GALLERY

EXHIBITION HIGHLIGHTS

A Woman’s Worth

January 9, 2021 to August 15, 2021

A Woman’s Worth, curated by Emily Shinn, Curatorial Extern in European and American Art (201921), considered the representation of women by male artists from the Renaissance through the twentieth century. Paintings and prints from JSMA’s permanent collection explored archetypal ideals of feminine virtues, the objectification of the female form, and woman as model and muse. This exhibition was organized in support of the Feminist Art Coalition (https://feministartcoalition.org/), a cooperative effort among participating museums nationwide to take feminist thought and practice as a point of departure and use art as a catalyst for discourse and civic engagement during and after the 2020 presidential election cycle.

Left: Joachim Patini with Joos van Cleve (Netherlandish, 16th century). Madonna and Child in a Landscape, ca. 1515-1524. Oil on panel. 22 x 17 ½ in. Estate of Roy and Jeanne Neville. L.2011:56.27

Bottom left: Pierre Daura (Catalan-American, 1896-1976). Nude Reading, ca. 1933. Oil on canvas. 14 x 17 in. Gift of Martha Daura in memory of Chapin D. Clark. 2004:14.6

Bottom center: Albert Henry Payne (after Joseph-Desire Court) (German, 1812-1902). Flora, ca. 1840. Steel engraving on paper. 6 x 4 ¾ in. Gift of William Ehrman, from the Fleischner Estate. 1976:8.130

Bottom right: Gaston Lachaise (French, 1882-1935). Woman’s Head, 1924. Charcoal on paper. 13 7/8 x 10 in. Gift of Robert J. and Pauline L. Forsyth. 1993:1.14

FOCUS GALLERY EXHIBITION HIGHLIGHTS

Above,

Above,

6

(Catalan-American,

Pierre Daura’s Enchanted Universe

March 20 to August 1, 2021

Drawn from the permanent collections of the JSMA and Knight Law Center, this exhibition explored the paintings of Catalan-American artist Pierre Daura through his answers to a survey conducted in 1953 by Surrealist poet and founder, André Breton. The survey asked participants to consider the connection between art and magic, as part of Breton’s research for an art historical opus titled L’Art Magique, which positioned art as an ancient conduit for magic and artists as modern magicians. Though he never associated with the Surrealist movement, Daura’s answers reveal an imagination deeply engaged with Breton’s thesis. The works in this exhibition revealed the enchanted refrain that runs through the mature decades of Daura’s prolific and diverse output between the 1930s and the 1970s. Moving nimbly between landscape, portraiture, and abstraction, and watercolor, oil, and gouache, Daura embodies Breton's ideal of an artist-magician dedicated to initiating viewers into an entrancing, veiled world. This exhibition was curated by Emily Shinn, Curatorial Extern in European and American Art (2019-21), and was indebted to the generosity of the artist’s daughter, Martha Daura, and the dedicated research on L’Art Magique conducted by 2019-20 extern Caroline Phillips.

Left: Pierre Daura (Catalan-American, 1896-1976). Pieta, 1955-70. Watercolor on paper. 7 7/8 x 8 2/3 in. Gift of Martha Daura in memory of Chapin D. Clark. 2004:14.17

left: Pierre Daura (Catalan-American, 1896-1976). Self-Portrait, 1940. 11 x 7 ¾ in. Watercolor on paper. Loan from the University of Oregon Law School. L2014:11.16

right: Pierre Daura

1896-1976). Top: Maison Daura (Saint-Cirq-Lapopie), ca. 1930. Etching with acquaint.

¾ x 4 ¾ in. Gift of Martha Daura in memory of Chapin D. Clark, 2004:14.34. Bottom: Church (Saint-Cirz-Lapopie), ca. 1951. Marker on paper. 18 x 13 ½ in. Gift of Martha Daura in memory of Chapin D. Clark. 2004:14.14

SHARED VISIONS EXHIBITION HIGHLIGHTS

In the fall of 2020, the JSMA launched Shared Visions, a wide-ranging exhibition and academic enhancement program that facilitates connections between important works of art and University of Oregon students and faculty, JSMA members and visitors, and all of our virtual audiences. Shared Visions represents both a rebranding and an evolution of the museum’s Masterworks on Loan initiative that has brought exceptional works of art from private collections to the JSMA, including a diverse cross-section of contemporary and postwar art, and select, stellar examples of 19th and 20th century modern art. Sharing the visions of artists—whose works are in turn shared with the museum by their collectors—Shared Visions supports the museum’s teaching mission by providing students and the community access to historically significant works of art otherwise inaccessible to UO and Eugene audiences. The display of Shared Visions works in the JSMA’s galleries is complemented online by curatorial commentary and study guides, an edited list of links to selected learning resources about the artists and their work, images of the artworks themselves, a periodically updated gallery slideshow, as well as virtual tours of Shared Visions works in the galleries.

With an increased focus on amplifying the artistic and cultural vision of diverse artists, growing the next generation of art enthusiasts and museum professionals, and providing a platform for cross-cultural understanding, Shared Visions reflects the belief at the heart of the JSMA: that knowledge of art enriches people’s lives by fostering human empathy and understanding.

The JSMA is grateful for the opportunity to share works from the private collections of Shared Visions lenders. In turn, lenders are invited to visit the museum, learn about the academic mission enhanced by their loans, and offer much appreciated support for the JSMA’s operational and programmatic needs.

Since July 2019, the JSMA has had the pleasure of working with dozens of lenders to share exceptional works by artists such as Josef Albers, Ruth Asawa, Banksy, Jean-Michel Basquiat, Marc Chagall, Monir Shahroudy Farmanfarmaian, Helen Frankenthaler, Barkley L. Hendricks, Eva Hesse, Rashid Johnson, KAWS, Lee Krasner, Yayoi Kusama, René Magritte, Édouard Manet, Kerry James Marshall, Alice Neel, Georgia O’Keefe, Pablo Picasso, Robert Ryman, Chaim Soutine, Cy Twombly, Matthew Wong, Lynette Yiadom-Boakye, Billie Zangewa and many more.

As this list demonstrates, Shared Visions loans have played a particularly strong role in bringing significant racial, gender, and international diversity to the JSMA’s galleries.

For complete list of Shared Visions during FY20 and FY21, go to:

https://jsma.uoregon.edu/annualreport

Bottom right, top: Ruth Asawa (American, 1926-2013). Untitled (S.786, Hanging Two-Sectioned, Open Window Form), ca. 1954-58. Galvanized steel wire. 52 ½ x 19 ½ x 19 ½ in. Private collection. L2021:20.1

Bottom right, bottom: Marc Quinn (British, b.1964). Frozen Wave (The Conservation of Memory), 2017. Stainless steel. 127 3/16 x 291 5/16 x 126 3/8 in. Private Collection. L2019:121.1

Bottom, left: Lorna Simpson (American, b. 1960). Howling, 2020. Ink and screen print on gessoed fiberglass. 108 x 72 in. Peterson Family Collection. L2020:82.1

PROGRAM & EVENT HIGHLIGHTS

FY20 HIGHLIGHTS

(July 1, 2019 – June 30, 2020)

20x21 Mural Project Artist Reception

July 31, 2019

Sadie Williams (Steadman) on Steadman

October 5, 2019

WATCH NOW

Hank Willis Thomas: All Things Being Equal

October 14, 2019

WATCH NOW

Family Day: Celebrations Around the World | Día de la Familia: Celebraciones Alrededor del Mundo

December 7, 2019

Discussion about the exhibition Roger Shimomura: By Looking Back, We Look Forward with English Professor Tara Fickle and Chief Curator Anne Rose Kitagawa

February 15, 2020

WATCH NOW

Carrie Mae Weems: Beyond Black and White with Katie Delmez, curator of Carrie Mae Weems’s 2012-2014 traveling retrospective March 11, 2020

WATCH NOW

FY21 HIGHLIGHTS

(July 1, 2020 – June 30, 2021)

39th Annual Día de los Muertos Celebration

November 1 and 2, 2020

WATCH NOW

Virtual Gallery Talk with Ina Asim & Anne Rose Kitagawa Myriad Treasures: Highlights of Traditional through Contemporary Chinese Art from the New Soreng Gallery

November 8, 2020

WATCH NOW

Virtual Artist Talk: Sandy Rodriguez

December 2, 2020

Generous support for this project was provided by Art Bridges.

WATCH NOW

2021 David and Anne McCosh Memorial Visiting Lecturer Series

George Johanson: Why Make Art?

February 28, 2021

WATCH NOW

Alison Saar and Hank Willis Thomas in conversation with Hamza Walker

April 15, 2021

WATCH NOW

Conversation with Art Critic Blake Gopnik, Author of Acclaimed New Warhol Bio

May 23, 2021

WATCH NOW

COLLECTIONS HIGHLIGHTS

Each year, in keeping with the museum’s mission and collections development goals, the JSMA’s curators and director identify artworks for addition to the permanent collection. We are deeply grateful to donors who offer gifts from their private collections, acquire works from artists or galleries on our behalf, and/or make purchases possible by contributing to the museum’s dedicated acquisition funds (some of which are endowed, but most of which are not) that allow us to pursue selected purchases. Curators’ conversations with artists, gallerists, collectors, and researchers, as well as with their museum colleagues in collections management and education, and with University faculty and instructors inform our selections. As we continue important discussions about diversity and representation in the permanent collection, we anticipate further growth in underrepresented areas. Thanks to the dedicated efforts of the JSMA Collections Committee, and to the input of UO faculty across disciplines for whom the permanent collection provides invaluable teaching opportunities, we continue to develop and refine our strategic vision for acquisitions.

Between July 1, 2019 and June 30, 2021, we grew our collection by 454 art objects and 14 archival items, including paintings, sculpture, graphics and other works on paper, silverwork, decorative arts, ceramics, textiles, artists’ tools, and more. Several of these represent our core collection strengths of Asian, American, Pacific Northwest, and Latin American art—in many cases, the JSMA’s first works by established artists, including Judy Cooke (American, b. 1940), Raymond Saunders (American, b. 1924), Lewis Watts (American, b. 1946), KUNIYOSHI Yasuo (Japanese, 1889-1953), ZAO Wou-ki (Chinese, 1920-2013), and SHIN Sang-ho (Korean, b. 1947). In 2019, JSMA purchased its first works from Crow’s Shadow Institute of the Arts: lithographs by Natalie Ball (American, Black, Modoc and Klamath, b. 1980) and Vanessa Renwick (American, b. 1961). One goal of the JSMA’s collections development plan has been to acquire more works by Chicanx artists. The museum has very few works that professors can use to teach ancient indigenous art of Mexico; with this in mind, in 2020 we purchased Luna Ilena by Ester Hernández (Mexican-American, b. 1944), which features one of the most important Aztec sculptures known today—Coyolxauhqui, the moon goddess—and were able to exhibit this print soon after in Entre mundos: Memory and Material.

We also expanded our holdings by several artists with long histories with the JSMA, including Rick Bartow (American, Mad River Band Wiyot, 1946-2016), Pierre Daura (Catalan-American, 1896-1976), Anne Kutka McCosh (American, 1901-94), Jack McLarty (American, 1919-2011), Mark Tobey (American, 1890-1976), SEKINO Jun’ichirō (Japanese, 1914-88), MAKI Haku (Japanese, 1924-2000), Masami TERAOKA (Japanese-born American, b. 1936), and Roger Shimomura (JapaneseAmerican, b. 1939).

In 2021, the PhotoAlliance Board of Directors gifted a group of 53 photographs made between 1968 and 2016 representing the work of 46 different artists working in Afghanistan, Canada, Cuba, India, Japan, Kenya, Korea, Mali, Mexico, the Netherlands, Russia, the United States, and Vietnam. This selection of works addresses several themes important to the JSMA’s collections development goals and academic mission: individual aesthetics, conceptual-based work, environment and landscape, portraiture, and social justice.

Gifts of European art, such as a collection of nineteen etchings by Dutch genre artist Adriaen van Ostade (161085) and three illustrations from Salvador Dalí’s (Spanish, 1904-89) The Divine Comedy, increased representation of European art and opened up new possibilities for teaching. The Dalí works were included in Salvador Dalí: illustrator, printmaker, storyteller in the MacKinnon Gallery.

It is always exciting when our exhibitions lead to acquisitions. Our Winter 2020 exhibition Roger Shimomura: By Looking Back, We Look Forward resulted in the acquisition of one painting and five prints by the artist. Works by printmaker Mildred Bryant Brooks (American, 1901-95), including nine etchings that were gifted to the collection from the artist’s family in 2019 and 2020, were the focus of Mildred Bryant Brooks: The Art of Etching, our first fullydigital exhibition (https://jsma.uoregon.edu/MildredBryantBrooks).

A large percentage of the permanent collection, including most of new acquisitions, is available for viewing in our online searchable database at https://jsma.uoregon.edu/jsma-collections.

If you would like to support JSMA acquisitions, please visit: www.uofoundation.org/JSMAAcquisition

ACQUSITIONS HIGHLIGHTS

Roots

Rubén Trejo (American, 1937-2009). 1982. Steel, wood, metal, wood shavings, 59 ½ x 19 x 17 ¾ in. Purchased with funds from the Mark Sponenburgh Fund; 2020:9.1 This work by Rubén Trejo, the most important Chicanx sculptor in the Northwest, was initially borrowed for the JSMA’s 2019-20 “Common Seeing” exhibition, Resistance as Power: A Curatorial Response to Under the Feet of Jesus in support of the UO’s “Common Reading” assigned book, Under the Feet of Jesus by Helena Maria Viramontes. It is included in Many Wests: Artists Shape an American Idea, a major traveling exhibition organized in partnership with the Smithsonian American Art Museum, Art Bridges, and three other museums in our region, which was presented at JSMA in fall 2022.

Im Flüchtlingslager Nikolsburg: Schlafraum (Dormitory)

Max Pollak (American, b. Czechoslovakia, 1886-1970). 1914-15. Drypoint, ed. 36/75, plate: 7 3/8 x 4 7/16 in.; sheet: 10 ½ x 9 in. Museum purchase with funds provided by Michael C. Powanda and Elizabeth D. Moyer; 2019:46.2

Jewish printmaker Max Pollak was born in Czechoslavakia and raised in Vienna, Austria. This image is one from a series of etchings Pollak made while on duty with the Austrian army in 1914 to capture the experiences of Galacian Jewish families enduring harsh conditions in a refugee camp in Moravia. This print and five others from Pollak’s In the Barrack Camp at Nikolsburg portfolio were on view in the Graves Gallery in winter 2022.

Pattern Seekers #1/ Select-o-View

Dan Powell (American, b. 1950). 1981. Gelatin silver print with graphite and colored pencil, 18 x 18 in. Gift of Jonathan Lampert; 2020:23.3

Dan Powell is Associate Professor Emeritus at the University of Oregon and is the former head of the photography department . As an important figure in the regional history of the medium, Powell’s conceptual photography received as gifts to the museum complements our holdings of the artist’s more traditional landscape body of work.

In the Halls of Justice

Carrie Mae Weems (American, b. 1953). From the series Dreaming in Cuba , 2002. Archival inkjet print, image: 16 x 15 in.; sheet: 24 x 21 in. Gift of the PhotoAlliance Board of Directors in honor of the artist. 2020:22.1

Carrie Mae Weems uses photography, video, and installation to examine the African-American experience. In this image, the artist inserts herself as history’s ghost and witness, occupying the corridor of a once stately building. “A part of my project is absolutely inserting the black presence in the world, asserting it as the norm,” wrote Weems in 2003. “Not as the abnormal. Not as simply racial politics. But rather, embracing the breadth of this humanity that comes through this brown skin.”

Corona I (Crown I)

Lilliam Nieves (Puerto Rican, b. 1975). 2015. Iron and plush fabric, filling, and gold trim, crown: 8 x 8 ¾ x 8 ½ in; pillow: 2 ½ x 12 x 12 ½ in. Purchased with Funds from the Ford Contemporary Art Endowment; 2019:44.1

Corona I fulfills several strategic objectives to diversify the Latin American and Caribbean art collection—to acquire three-dimensional conceptual objects, to acquire works by women, to acquire works made in countries that are the subject of UO courses, but underrepresented in the collection. Corona I has the added benefit that students can interact with the work (as the artist intended) during class visits to the Gilkey Research Center, and discuss how Nieves’s work addresses gender politics and beauty rituals, the role of beauty pageants in Latin America and the Caribbean, Puerto Rico’s economy, politics, and status, and women’s work in the family and across generations.

Unnumbered Portrait III

Narsiso Martínez (Mexican, b. 1977). 2016. Linocut print and matte gel on cardboard box, 31 ½ x 17 ½ in. Gift of Michael Hames-García. 2021:4.1

Another of JSMA’s collections development goals is to acquire more works by Latin artists. Unnumbered Portrait III will serve classes in Printmaking, Latin American Art History, Contemporary Art, Indigenous, Race and Ethnic Studies, Environmental Justice, Romance Languages, History, Anthropology, Latinx Studies, Latin American Studies, and First Year Interest groups, among others. Drawn from the artist’s own experience as a farm worker in Wenatchee, Washington, Martínez’s work focuses on the people performing the labors necessary to fill produce sections and restaurant kitchens around the country. Farmworker portraits are drawn and printed on discarded produce boxes collected from grocery stores. In a style informed by inter-war Social Realism and its antecedent European Realism, Martínez makes visible the difficult labor and onerous working conditions of the American farm worker. Our former UO colleague, Dr. Michael Hames-García, now Professor of Mexican American and Latina/o Studies at the University of Texas at Austin, purchased and donated this work to the JSMA because it spoke to the experiences of many UO students and their families.

Rock Face and Circle, Ladakh, India

Linda Connor (American, b. 1939). 2016. Archival digital print from a 4 x 5 negative, 8 ¾ x 7 in. Gift of Linda Connor. 2020:13.2

Linda Connor’s work embraces spirit by a path that celebrates both the sacred and the profane. For more than 50 years, Connor has photographed distant places of devotional power and sites that resonate with significance, hidden and implied. The light seen in the prints—at times fleeting and suggestive, and at others defining and all-powerful—is both metaphoric and recognized as a translation of life force in its own right.

American Alien #3

Roger Shimomura (Japanese-American, b. 1939). 2006. Acrylic on canvas, 36 x 24 in. Museum purchase through the Hartz FUNd for Contemporary Art. 2020:7.1

In this tender painting artist Roger Shimomura depicts himself as a small child with his mother in the doorway of their World War II family home in Block 6 at the Minidoka War Relocation Center in Hunt, Idaho—one of ten U.S. internment camps in which 120,000 Japanese and American citizens of Japanese descent were incarcerated from 1942-45. While his mother is fully illuminated and smiles tenderly as she sweeps, young Roger grips a tiny baseball bat and is seen entirely in shadow, obscuring any expression of emotion. The warmth of this painted memory is undermined by two strands of barbed wire silhouetted ominously against the night sky beyond the barrack window.

Our Friends are All Over the World

SHEN Shaolun (沈绍伦/沈紹倫, b. 1935). Chinese; People’s Republic of China, 1964. Lithograph; ink and color on paper, 41 ¾ x 30 3/8 in. Anonymous Gift. 2019:59.1

One interesting facet of Chinese Communist propaganda is its incorporation of other revolutionary movements. Thus, in addition to posters featuring Chinese heroes and narratives, there are a number like this in which people of various cultures are depicted together. In the foreground, an African man and a Latin-American or European woman are shown clapping, cheering, and bearing bouquets of flowers alongside their Chinese female comrade. Behind and in the distance can be seen a large crowd of other flower-bearing celebrants representing Asia, Africa, the Middle East, Europe, and Latin America. The poster’s designer, SHEN Shaolun, worked in the Shanghai People’s Fine Arts Publishing House producing watercolor imagery of uplifting political themes.

Reflection of PhiladelphiaHomage to Ordenberg

HAMANISHI Katsunori (Japanese, b. 1949). Shōwa period, 1988. Mezzotint with relief; ink and color on paper, ed. AP, 14 11/16 x 20 3/16 in. Purchased with a gift from Elizabeth D. Moyer & Michael C. Powanda. 2020:6.2a,b

In 1987, mezzotint printmaker Hamanishi Katsunori received a grant that enabled him to study at the University of Pennsylvania. Through this exposure, he drew inspiration from such contemporary American artists as Claes Oldenberg (b. 1929), Jim Dine (born 1935), and especially Barnett Newman (1905-1970), whose audacious color, form, and design provided exciting new stimuli for his own intaglio prints. Inspired in part by Newman’s “zips” (compositions characterized by thin vertical lines), Hamanishi began to add color to his mezzotints. The button and clothspin in this composition pay homage to two Oldenberg sculptures in Philadelphia (Split Button on the Penn campus and Clothespin by the Center City subway), while the red rope references Newman. The acquisition of both the print and mezzotint printing plate used to produce it provides valuable opportunities to teach about Hamanishi’s technique.

disperse

Vanessa Renwick (American, b. 1961). 2019. Nine color lithograph with gold leaf, 22 ¼ x 22 ¼ in. Museum purchase through the Hartz FUNd for Contemporary Art. 2020:5.1

Renwick’s lithograph disperse , printed at Crow’s Shadow Institute of the Arts with collaborative Master Printer Judith Baumann, depicts the stages of life and metaphysical migration of a wolf pack in Yellowstone. This work demonstrates Renwick’s deep interest in human interactions with the natural world and expands JSMA’s holdings of works that engage with environmental issues.

Woman and Man on a Bed

Richard Tuschman (American, b. 1956). 2012. Archival digital print, 16 x 20 in. Gift of Michael Yachnik and Michael Fleming. 2019:53.1

Richard Tuschman’s work is a contemporary crossover in photographic practice between digital and analog processes. For this series, the artist constructs tableau materials in miniature, photographs living models, and assembles the whole montage through digital processes. The effect yields a modest painterly feel that seamlessly blends two typically distinct uses of the photographic medium. This photograph was exhibited in STILL Photography, December 7, 2019–June 14, 2020.

For complete list of acquisitions during FY20 and FY21, go to:

https://jsma.uoregon.edu/annualreport

STUDENT SUCCESS & CAMPUS ENGAGEMENT

Student Success and Campus Engagement

A core mission of the Jordan Schnitzer Museum of Art is to enhance and further the academic mission of the University of Oregon—a commitment to exceptional teaching, research, discovery, and service. We believe strongly in the power of original works of art to enrich lives, demonstrate connections across cultures, and foster the development of collaboration, communication, creativity, and critical thinking. As a laboratory for active learning, the JSMA believes that art and artists can help generate change in people’s lives and in society.

2019-2020 Academic Programs Highlights

Even though the JSMA was open for only two-thirds of the academic year, the museum had its biggest year connecting its collections and exhibitions to students and UO staff for a class assignment or guided tour. During the 2019-2020 academic year, 10,223 students from 323 classes across 55 departments at UO visited the JSMA in person or remotely as part of their academic work. As in past years, the museum organized a busy schedule of public programs during fall and winter term that were widely attended by students, and JSMA staff lectured to classes outside the museum, as far away as Moscow, Russia.

University/College Student Attendance, 2019-20

Latinx Student Engagement

With support provided by Art Bridges, the JSMA organized an academic program with the UO’s first Latinxfocused Academic Residential Community (ARC). The Latinx Scholars ARC creates and promotes a positive and supportive space that eases the transition of first-year Latinx students into UO life while empowering them to become prominent campus leaders. The 30 students, along with their academic advisor and planning committee, visited the Resistance as Power exhibition, then participated in a weekend printmaking workshop led by cultural worker Gilda Posada and facilitated by UO printmaking professors and print studio technicians. Few of the students who participated in the workshop had taken an art class. Students selected an issue they cared about, designed an image and text, and printed a silkscreen print. This hands-on art experience was valuable for students’ self-discovery, confidence, cultural and community enrichment, and creative growth and problem-solving. Generous support for this project was provided by Art Bridges.

LEARN MORE:

Left to right: Gilda Posada (Xicana, b. 1988). No Justice Without Climate Justice, 2019. Silkscreen print. Created as part of an ARC workshop with Latinx students.

Gilda Posada (Xicana, b. 1988). ¡Viva La Mujer!, 2019. Silkscreen print. Created as part of an ARC workshop with Latinx students.

Collection Used for Class and Virtual Program

Professor Dorothee Ostmeier spearheaded a special academic program called Satire and Fairy Tale in Contemporary Art Projects of Peregrine Honig. She introduced students in her Magic, Uncanny, Surrealist, and Cynical Tales class to Peregrine Honig’s “Father Gander” print portfolio in the JSMA’s collection. Ostmeier’s class, based on her scholarship on fairy tale traditions in the contexts of gender studies and the history of satire and cynicism, established a framework for the discussion of Honig’s visual mediation of classical knowledge and contemporary critical reflection. Honig’s six lithographs present satirical commentaries on specific traditional tales, mostly from the Brothers Grimm. The students organized and participated in the February 2020 public program: they greeted the public, dramatically interpreted their reflections on and interpretations of Honig’s work, introduced the artist, and facilitated a Q&A with Honig after her presentation on her work. The “Father Gander” portfolio was displayed in the Ford Lecture Hall.

WATCH NOW:

Virtual Object Viewing

Since the JSMA was closed in spring term, Professor Akiko Walley and Chief Curator Anne Rose Kitagawa recorded a fifteen-minute object viewing of three objects in the collection—wooden block, a baren, and a recent impression taken from the block—that was later presented to the students in the Early Modern Period: Visual Culture of the Floating World class during their regular meeting time. Anne Rose answered Professor Walley’s prepared questions by describing the wooden block in detail, discussing how prints were made during the Edo period, and demonstrating how printers used such tools to create woodblock prints.

Color Theory Reimagined

Every spring, Professor Esther Hagenlocher, who teaches in UO’s School of Architecture and Environment, introduces her students to the JSMA and its Shared Visions loans for an assignment in her Color Theory and Application class. Due to the pandemic, students received high-resolution images of works in the Shared Visions program. Each student studied and responded to one work using colored pencils or other materials on paper to demonstrate their understanding of color in relation to material, texture, light, and form. Working on a 20.5 x 13 inch piece of paper, students selected and applied color to support their design concepts and multiple design functions. These works on paper became part of each student's Color Portfolio.

Left to right: Basil Nicholson, Seven Swans, 2021. Digital drawing. Image courtesy of the artist, Basil Nicholson (GER 356 student), Untitled, 2021. Digital drawing. Image courtesy of the artist, Liberty Rossel, Untitled 1, 2021. Pastel on paper, Liberty Rosse, Untitled 2, 2021. White conte on paper. Image courtesy of the GER 356 students in FY21 virtual program

2020-2021 Academic Programs Highlights

Despite the shift to virtual teaching in response to the COVID-19 pandemic, the museum hosted more than 208 classes during the 2020-2021 academic year, which served approximately 5,181 students across 23 departments at UO.

University/College Student Attendance, 2020-21

For complete list of academic engagement during FY20 and FY21, go to:

https://jsma.uoregon.edu/annualreport

Exhibition Inspires Popular Series

Nuestra imagen actual | Our Present Image: Mexico and the Graphic Arts 1929-1956 attracted many on- and offsite visitors. Cheryl Hartup and curatorial intern Wendy Echeverr ía Garc ía conversed about their favorite works in the Nuestra imagen actual in the two-part series Almuerzo y arte | Lunch and Art, which ArtNews highlighted in the article “These U.S. Museums are Closed, But Here Are Some Terrific Ways to Experience Them from Home.”

WATCH NOW:

Blockbuster Program with Alison Saar, Hank Willis Thomas, and Hamza Walker

The UO Department of Art, Center for Art Research, and the JSMA presented a webinar with Alison Saar and Hank Willis Thomas. Introduced by Jordan Schnitzer, the conversation complemented the Common Seeing LOOK.Listen. Learn.Act exhibition curated by Danielle Knapp that was made possible by the Jordan Schnitzer Family Foundation and the Ford Family Foundation Critical Conversations Program.

WATCH NOW:

Faculty-led Collaborative Event

Sanctuary, A Performance was a live-streamed collaborative event exploring women/queer people of color’s collective experiences of seeking refuge from persecution under the ongoing violence of colonization. The live portion took place outdoors in front of the JSMA. Sanctuary featured UO faculty Ana-Maurine Lara (lead artist), Akiko Hatakeyama (collaborating artist) and Alaí Reyes-Santos (producer), approximately ten UO students, other collaborating artists, and an artistic director. A webinar—moderated by Jillian Hernandez and featuring a conversation with Lara, Hatakeyama, Rosamond S. King, Courtney Desiree Morris, and director D’Lo—was held over Zoom after the performance. These in-depth, multiyear collaborations offered students an opportunity to hone their public-facing skills.

WATCH NOW:

New Modes of Learning Yield Big Results

In an average year, Chief Curator Anne Rose Kitagawa gives dozens of class tours, co-teaches with Art history faculty, presents to students, and leads class assignments and object-viewings for classes in the museum featuring Asian Art. In the mostly virtual 2020-2021 academic year, Anne Rose Kitagawa adapted existing resources and learned new technologies to support faculty and to make the JSMA’s collections and exhibitions available for learning. This resulted in several tours, 15 presentations to students, 10 class assignments in response to digital assets, and multiple virtual object viewings. A reported 740 students engaged with the art of China, Japan, and Korea as a result!

Faculty Engagement

The newly formed Faculty Engagement Working Group (FEWG) allowed the JSMA to promote regular dialogue between faculty and museum staff during the pandemic. Its purpose is to foster new and innovative faculty and student use of the museum in teaching and research. The FEWG meets three times during the academic year, with presentations from museum staff about upcoming exhibitions, special projects of potential interest, and updates on how to access JSMA collections and exhibitions for object-based teaching. Additionally, these group meetings offer faculty an opportunity to discuss their research and teaching and brainstorm ideas for new collaborations with museum staff and other faculty. Paul Peppis, professor in the Department of English, director of the Oregon Humanities Center, and a member of the JSMA’s Leadership Council, chairs the group, with twelve members total. The FEWG met in December 2020 and March 2021, and additional side meetings occurred between members and their colleagues.

To say the Jordan Schnitzer Museum of Art has enriched my college experience would be an understatement. I have found a community of individuals whom I regard as family. The staff at the Jordan Schnitzer Museum of Art have given me the support and confidence to pursue opportunities I wouldn’t have otherwise thought of taking. They have cheered me

Student Engagement

In addition to supporting academic engagement with the JSMA’s collections and exhibitions, the JSMA supports UO students’ individual educational journeys through student employment and internships at the museum.

The JSMA employs an average of 50 students annually in various positions and internships in communications, curatorial and collections, education, visitor services, gallery monitoring, event support, and more. As a whole, JSMA student workers speak more than 10 languages, represent many countries and cultures, and contribute their time and talent to countless museum initiatives, programs, and departments. JSMA student workers tell us that working in the museum contributes to their career goals, enriches their personal interests, and connects them to like-minded art enthusiasts.

When the museum closed in March of 2020, the JSMA sought to offer student workers opportunities to work remotely, recognizing that students drive our mission and inspire us as an academic museum. By April 2020, we launched Museum Students/Museum Stories (MS/MS), a new program to keep student workers employed while the museum was closed. They wrote and made digital content for our website and social media messaging, telling their stories about their work at the museum, how it impacts their career plans, insights, and more. They also researched what other academic museums were creating in that time of sheltering at home, scouring hundreds of university museum websites for intriguing new models of online art learning.

The JSMA thanks Norm Brown and Anne Cooling for making paid student opportunities possible at the JSMA through the Anne Cooling Student Impact Fund, which was created to support student employment and academic internships at the JSMA.

on from the sidelines since day one.

—Savanah Campbell ’21, Gallery Monitor

EDUCATION & OUTREACH

Throughout the 2019-2020 and 2020-2021 academic years, the JSMA continued to offer educational and outreach programs for youth and families despite the challenges of the pandemic. Prior to spring 2020, the JSMA offered a robust menu of in-person educational programs such as Pre-K and K-12 tours during the school year, Art Camps, Family Days, and a variety of arts and healthcare programs, highschool and collegiate-level programs, and professional development for teachers.

Following school closures and the shift to remote learning in spring 2020, the JSMA adapted its programs to a virtual format and offered new online artmaking activities to be enjoyed at home by launching Art Teaches, an online portal for K-12 distance learning, and JSMA Creates, a video series featuring hands-on projects based on works in the collection or in the Shared Visions program.

Despite the learning curve and challenges of shifting programs to an online format, the response was tremendous. Programs such as Madres Club garnered double and triple the average attendance when held virtually, and participants logged on from across the state.

Education & Outreach Highlights

LEARN MORE:

Art Teaches

The Art Teaches page on the JSMA’s website is the launching page for remote learning opportunities for teachers and schools. The latest JSMA opportunity for students in the classroom or at home is the Art Teaches –Myriad Treasures curriculum: a collection of three learning videos, lesson plans and art and writing activities that culminates with STEAMbased artmaking activities. Art Teaches – Myriad Treasures was created by a team of educators and staff, Exhibition Interpreters, and graduate students. The full curriculum, video access, book lists, resources and activity pages are all available in one place.

Our Teacher Resource Center contains links to many past professional development materials and information about Outreach Kits which are loaned free to classrooms for three weeks. Here, educators can find Teacher Resource Sheets for new and upcoming exhibitions which offer information about artists, links for further resources, ideas for activities and vocabulary for in-classroom support before and after visiting the museum.

JSMA Creates

A free online resource for art lovers of all ages and skill levels, JSMA Creates offers object-based art lessons to enjoy at home. Each project highlights artwork from the JSMA collection or Shared Visions. The projects have been designed to utilize simple materials that should be easy to find around your home. JSMA Creates currently offers projects inspired by the artists Roy Lichtenstein, KAWS, and Alexander Calder.

LEARN MORE:

STELLAR Online

The STELLAR Online Project (Strategies for Technology Enhanced Learning and Literacy Through Art), a partnership between the JSMA and the UO College of Education, completed the creation of an online professional development website for rural teachers from around Oregon and actually across the country in 2021! The project was funded by a U.S. Department of Education, Institute of Education Sciences (USDEd IES) grant. The collaborative focus was to give educators in rural districts the experience and tools necessary to use art to teach argument writing in the classroom through the adoption of Visual Thinking Strategies (VTS) with their students. The research showed increased critical thinking skills, writing competencies, art literacy and engagement in students grades 4-8. Fifty-one teachers and over one thousand students participated in the second phase of the STELLAR Project. The JSMA received national recognition as a result of two journal chapters that were published in 2020 that highlighted the impact of STELLAR on students’ growth in writing.

LEARN MORE:

School Tours and Exhibition Interpreters

More than 1,700 K-12 students toured the JSMA in academic year 2019-2020 before the museum’s closure in March 2020, thanks to the volunteer efforts of the JSMA’s 41 active and provisional Exhibition Interpreters (EIs). From July 2019 - March 2020, EIs volunteered approximately 3,413 hours to support K-12 learning at the JSMA.

In the 2020-2021 academic year, EIs led the way in hosting hybrid meetings at the museum to continue their training in support of K-12 tours. Their adaptability and hands-on approach to mastering hybrid learning enabled the JSMA to offer responsive tours to K-12 teachers during an academic year that saw limited in-person tours and a continued need for remote learning. Thank you, EIs!

Art Heals

The JSMA has seen tremendous growth in arts and healthcare programs over the past few years. In 2019, the JSMA’s Art Heals program served 700 individuals through a variety of programs, from established offerings like VSA/Art Access Art Workshops for children with special needs to newer classes like Reflections and Connections

Thanks to the museum’s adaptability in rapidly shifting these programs to remote formats in 2020, that audience doubled in the 18 months that followed. Almost 1400 patients, medical care providers, Latina mothers, children with disabilities, and adults with dementia and Alzheimer’s disease attended one of JSMA’s 45 virtual workshops.

As the audience grew, so did the geographic reach of Art Heals. The remote access allowed the JSMA to reach more rural and underserved audiences, including postpartum Latina mothers and oncology patients living in remote areas of Lane and Benton Counties.

The Art Heals program includes workshops for cancer patients, care providers, postpartum mothers, and hospice care partners through a partnership with Good Samaritan Health Services and Stahlbush Island Farms. Participants receive free packets of art materials to use while creating alongside their peers in live painting workshops offered over Zoom. The workshops provide connection, relaxation, and a creative outlet for participants.

Reflections and Connections, a program for individuals living with young-onset or early to mid-stage dementia and their care partners, shifted from in-person discussions in the museum’s galleries to virtual creative conversations on Zoom in 2020. Each week of the five-week series centers around a different theme. Despite the change in format, Reflections and Connections serves as a platform for social connection with other individuals who are having similar experiences.

Art Inspires World of Work

The World of Work (WoW) program was established at the JSMA in 2014 as a threemonth paid internship program for high school students from underrepresented backgrounds interested in pursuing careers in art museums. The goals of the WoW program include

(1) teaching 21st century professional skills;

(2) familiarizing interns with higher education to promote post-high school opportunities; and (3) increasing the diversity of those working in our cultural institutions to better reflect the diverse communities being served.

The Spring 2020 WoW programming began as usual with online application submissions in Fall 2019. Twentyone local high school students submitted applications, letters of recommendation, and essay submissions. Four interns were chosen in winter term to participate in the spring cohort for workshops that were re-structured for a virtual format. WoW interns journaled throughout the term and participated in workshops on ArtAccess and Art Heals, resumé building, Visual Thinking Strategies and a WoW Mentorship workshop with former WoW graduates.

COMMUNITY PROJECT RESIST COVID

To help curb the spread of COVID-19 and support public health guidelines, the Jordan Schnitzer Museum of Art, with support from the University of Oregon’s Office of the President and Division of Equity & Inclusion, organized local installations from RESIST COVID | TAKE 6! , a public art campaign by nationally renowned, Oregon-born artist Carrie Mae Weems. Weems applies the visual language of advertising, combining photographs, text, and bold graphics to dispel myths about COVID-19 and promote known preventive measures. Take 6! refers to the recommended social distance of six feet. Through billboards, posters, lawn signs, and reusable totes, RESIST COVID | TAKE 6! brought awareness to the greater impact of the COVID-19 pandemic on Black, brown, and Indigenous communities. This multilingual project delivered hope and no-nonsense practical advice to stop the spread. Our community was the first to host the art pieces promoting the vaccine.

SPONSORS

UO Office of the President

UO Division of Equity and Inclusion

PARTNERS

Center for Art Research

City of Eugene

City of Eugene Cultural Services

City of Springfield

Eugene Public Library

Eugene-Springfield N.A.A.C.P.

EUG404

Fastsigns of Eugene

Homes for Good

Lane Community College

Lane County Public Health

McKenzie Willamette Hospital

Meadow Outdoor Advertising

Springfield Museum

Springfield Public Library

University of Oregon Department of Art

University of Oregon Libraries

DEVELOPMENT

At the heart of the JSMA is our mission to enhance the UO’s academic mission and further the appreciation of the visual arts for everyone in our community. As 2020 wore on and the pandemic continued into 2021, museum staff adapted programs, adjusted exhibitions and events, and sought new ways to engage students, faculty, and our community with the visual arts thanks to the support of JSMA members, the Patron Circle, Leadership Council and Emeriti Group, funders and individual donors.

Everyone who supports the museum makes our mission possible. Thank you for being part of our vision, supporting our efforts, and believing in the role of the visual arts in our complex world.

JSMA members

JSMA members bolster the museum’s dynamic, and enrich exhibition and education programs through their memberships, and enjoy special member-only events, programs, and discounts at the store and more.

We offer a deeply heartfelt Thank You to all of our JSMA members who supported the museum despite the building’s closure and shift to virtual programming in 2020 and 2021. Your dedication to the JSMA’s mission meant more than ever, and your support made so much possible!

Patron Circle members

Patron Circle donors are at the center of the philanthropy that sustains the JSMA. Sharing a commitment to the academic and cultural mission of the museum, Patron Circle donors support museum priorities, special programs and exhibitions, and collections.

Leadership Council & Emeriti Group

The Leadership Council is the JSMA’s primary advisory body with a goal of ensuring the artistic quality, educational integrity, excellence, sustainability, and financial strength of the museum. The JSMA greatly appreciates the contributions of Leadership Council members and the volunteers who serve on Leadership Council committees to advise the museum.

In fall of 2020, the Leadership Council created a new Education Committee to advise the museum’s robust education programs and attract key partners in education, arts, and healthcare. We also formed a new Communications & Engagement Committee to deepen ties with the community and organizations that support the JSMA, and to explore how the JSMA engages different audiences. Both committees got off to a strong start and became immediate contributors to the museum’s work.

In 2021 the JSMA also announced a new effort to foster continued relationships with former members of the Leadership Council and Museum Board of Directors. The JSMA Leadership Council Emeriti Group offers former volunteers continued engagement through regular updates from the museum, invitations to special functions, thought partnership, and ongoing recognition of their contributions to the museum.

FY20 by the #s:

JSMA Members: 454

Student members: 268

Patron Circle Members: 67

Leadership Council Members: 20 (including 2 honorary members)

Committee Volunteers: 11

FY21 by the #s:

JSMA Members: 433

Student Members: 323

Patron Circle Members: 59

Leadership Council Members: 20 (including 2 honorary members)

Committee Volunteers: 14

Development Highlights

• Creation of two new Leadership Council committees: Education Committee and Communications and Engagement Committee

• Creation of Leadership Council Emeriti Group to connect with more than 130 former Leadership Council members

• More than 250 members attended JSMA virtual events from June 2020 – June 2021

HONOR ROLL

The JSMA greatly values its members and donors, without whose support our public programs, exhibitions, publications, and other special projects would not be possible. The following are supporters who gave gifts to the JSMA or purchased memberships between July 1, 2019, and June 30, 2021. Every effort is made to compile a comprehensive list. Any omissions are inadvertent. Please call us at 541-346-7476 with your updated information. Thank you for your support!

$10,000+

Anonymous (39)

Jacqueline Reses and Matthew Apfel

Ariel Z. Emanuel Living Trust

Arlene Schnitzer Trust

Art Bridges Foundation

Bank of America

Anne Cooling and Norman Brown, Jr. '68

Capital Consulting Corporation

Casady Family Trust

Karla and William Chambers

Steve Chapman

Jeanette Lam and Jim Chian

Laura Chrisman

Daura Foundation

Estate of Gerald W. Webking

Estate of Hattie Nixon

Fidelity Charitable Gift Fund

Jennifer Caldwell and John Fisher

The Ford Family Foundation

Janine and Joseph Gonyea III

Ellen Tykeson '76, MFA '94 and Ken Hiday

Jewish Community Foundation of Los Angeles

Lane County Cultural Coalition

Steve Levitan

Hung Liu*

Marin Community Foundation

Leilani and Umrao Mayer

Mary Jean and Lee Michels

National Philanthropic Trust DAF

Natalie and Robin Newlove

Dominic Ng

Gina and Stuart Peterson

Elizabeth Moyer and Michael Powanda

Carol '75 and Keith Richard '64

Eric Sanders

Harold & Arlene Schnitzer CARE Foundation

Arlene Schnitzer*

Jordan Schnitzer '73

Schwab Charitable Fund

Susan and Heinz Selig

Silicon Valley Community Foundation

Christine & Chris Smith ‘67

Susanne and Randall Stender

Sykes Family Foundation

The Berg Family Trust

The Coeta & Donald Barker Foundation

The David Salgado Trust of 2010

The indiGO Blue Family Foundation

The W.L.S. Spencer Foundation

Vanguard Charitable Endowment Program

Susy and John Wadsworth, Jr.

Margo Grant Walsh '60

$5,000 - $9,999.99

Anonymous (1)

Bank of America Foundation

Holly and Albert Baril

Patti and Thomas Barkin

Lizzie and Steven Blatt

City of Eugene

Marceline Hammock and Herbert Merker '62

Vinie and J. Sanford Miller

Michael Mooser

The Oregon Community Foundation

Elizabeth Wadsworth and Paul Peppis

Ginevra '83, MA '85 and James Ralph '82, MA '91

Sheri and Arnold Schlesinger

Emmanuel Sharef

Andrew Teufel

The William H. Donner Foundation, Inc.

Barbara MS '83, PhD '89 and James Walker

$3,000 - $4,999.99

Anne and Terrence Carter

Margaret and Daniel Erickson

Ann MA '77 and David Fidanque

Mary '74 and Scott Halpert

Marcia and David Hilton

Thomas Jacks

Anne Niemiec and David Kolb

Sarah Finlay and Patrick Murcia

Albert Poston '69

Joanna and Otto Radke

Michael Schill

John Walker

$1,500 - $2,999.99

Benevity

Maureen Bernard* '58

Betty Soreng and Eben Dobson, Jr.

Equity Trust Company

Colleen and James Fitzgibbons

Jill Hartz and Richard Herskowitz

Karin Clarke-Johns '92 and Michael Johns '90

Lynda Lanker

Caroline Simms* and Diana Learner

Hue-Ping Lin MS '86, PhD '91

Mary and Alan Loesberg

Sally Nill '57

Sandra '62, MEd '67 and Philip Piele MS '63, PhD '68

Mary Breiter and Scott Pratt

Christine Sullivan '76 and John Rude MS '79

Elaine Bernat '78, MLA '79 and Roger Saydack JD '80

Kenda '74 and Kenneth Singer

Sandra '92 and Jerry South

Yvonne and Charles Stephens* PhD '72

Leila Whittemore and John Weber

Victoria and Jeffrey Wilson-Charles

$1,000 - $1,499.99

Jane Yaffa Aerenson and Travis Aerenson

Dawn Good Elk '70 and B. Reuben Auspitz

Tangie and Gerald Belmore '74

Joyce Benjamin '71, JD '74

Monica Houck

Jon LaBranch '67

Lane County Medical Society

Michael Liebling

Wendy Loren MS '90

Kim Ruscher and Kevin Modeste

Kurt Neugebauer MS '93

Elizabeth Stormshak and Douglas Park JD '93

Nancy '68 and Michael Rose '62

Marna Broekhoff MA '66 and Ralph Shattuck '66

Dana Turell

Douglas DeWitt and Dominick Vetri

$500 - $999.99

Jeannette Baker

Patricia McDowell and Patrick Bartlein

Anthony Cranford

Diane MS '82 and Larry Dann

RosaLinda Case and Bry Engle

Violet Fraser

Dorothy Frear '56, MEd '67

Adriana and Ansel Giustina

Margaret Gontrum

Kathryn and Herbert Hahn

Jerrlyn MEd '80 and Kip Henery

Catherine '77 and David Johnson '77

Janet Robyns MEd '80 and George Jones MEd '73, PhD '77

Jeneca Jones

Sue Keene MM '72

Kernutt Stokes Brandt & Company, LLP

Melinda Grier JD '88 and Jerome Lidz JD '77

Coral Mack '85

Nicola and James Maxwell MS '67, EdD '78

Maria Bolanos-McClain and Ken McClain

Phyllis Helland and Raymond Morse DMA '85

Constance and Dale Mueller '68

Ann '86 and Erik Muller MA '65

Karla and Christopher Murray '93

Patricia Neuner

Ellen and Alan Newberg MFA '69

Elizabeth and Klaus Putjenter

Victor Richenstein '77

Laura Vandenburgh and John Tuttle '89

Sharon Ungerleider '74, MFA '77

Barbara Perry '68, MA '76, PhD '93 and Robert Weiss

$250 - $499.00

Terri and Jon Anderson

Richard Anderson

Patricia Mallick '81 and Gordon Anslow

Vernon Arne '71

Judith and David Berg

Phyllis '56 and Andrew Berwick, Jr. '55

Virginia and Bernard Bopp

Jill Bradley '70

Pamela Brills

Linda MLS '71 and Donald Brodie

Leona and David Burtner

Janet and Leonard Calvert '55, MS '76

Rebecca and James Carlson MA '73

Amy and Jinhyung Cho

Cameron and Newton Davis '66

Rose Downey

Linda and Philip Duncan

Louise Bishop and James Earl

Sue and Matthew Evans

Deena and David Frosaker '75

Erin MBA '08 and Brian Hart

Ronald and Cecilia Head

Stephen Rhodes '69, JD '74 and Douglas Hedden

David Howland MA '95

Miriam and Herbert Hubbard

Jane Ingle

Mary and Jerry Jaqua

Carol and G. Wallace Johansen

Carol Yahner and Anthony Kaperick

Jane '88 and Paul Kaplan

Mary MS '03 and Kenneth Kato MCRP '00

Anne Rose Kitagawa

Thomas Kreider

Nancy Cheng and Stephen Lamb

Joyce Leader

Martha Lee '81

Ellen Climo and Marc Lipson

Richard Lloyd

Jeffrey Morgan '88

Catherine Cheleen-Mosqueda MEd '87 and Rafael Mosqueda

Sarah and David Nutter

Severena Johnston '88 and Michael Rear '89

Robert Reeves '97

Colette MA '84 and Stephen Richardson

Eric Roedl

Annette and Mike Rose

Pamela Whyte '77 and Ronald Saylor '70, MS '75

Eric Schabtach

Catherine and John Smith

Claire Stewart

Heidi and Gerald Stolp MS '88

Nathaniel Teich

Beth Bryant Tucker

Maureen and Daniel Williams '62

Sarah Wyer '14, MA '17

$100-$249.99

Martha Abbott '71

Joanna Alexander

Alice Allen

Lillian and Peter Almeida

Karen MEd '76 and Sarkis Antikajian

Susan Archbald

Andrea '67, MS '72 and David Arlington* MA '69, PhD '73

Andrea Armstrong '15

Eli Armstrong

Patricia Allene Atkins

Lois Safdie and Charles Bader

Erin Bartuska

Jean and Howard Baumann

Elizabeth Beckett '10, MS '11

Max Benjamin

Elizabeth '72 and Richard Berg, Jr. MM '77

Anne DeLaney MArch '89 and Rudy Berg MArch '89

Francine and Scot Berryman

Robin and Roger Best PhD '75

Bill Bishop

Jill Sager and Johnny Bojarsky

Melva and Shawn Boles

Adrienne Borg

Nick Bosustow

Christine Bourdette

Alice Kaseberg '67, MA '69 and Robert Bowie

Robert Brown

Grete and Warren Brown

Jeanette Kessler and Andrew Burke

Lynn '71 and Bill Buskirk '71

Denise and John Callahan

Linda Lawrence-Canaga and Robert Canaga '90

George Cardenas

Karla and Frederick Carr

Fanny PhD '71 and George Carroll

Polly and Brian Caughey

Judy and Christopher Chavez

Karine and Christopher Chavez

Susan Palmer and Craig Cherry

Karen French and Robin Chitwood

Nyssa Clark '92

Carol and Richard Clark

Nancy and George Classen '71

Rose Comaduran

Victor Congleton

Paula MA '78, MArch '84 and Dennis Conn

Nancy and Eric Corneliussen

Michelle Glenn and James Costa

Laurie Cracraft MA '69, MA '75

Catherine Simard and Thomas Crandall

Kathleen and Gary Craven MA '68

Lisa Quaid and Tom Croen

Priscilla and David Croft

Jean Names-Cross '76, MS '78 and Gary Cross '64, MS '65

Ellen and Lawrence Crumb

Linda and John Cummens

William Cummings

Frances and Michael Curtis '67

Barbara '89 and Gregory Damon

Wendy Daniel

Eleana Del Rio

Rebecca '87 and Mark Delavan

Gail and Paul des Granges

Kirsten Diechmann MS '82

Diane and Jerome Diethelm

Virginia Donohue

Christine Seifert and Paul Dresman

Nina Herbst '93 and Andrew Driscoll '92

Martha Murray and Kent Duffy '71

Sandra and Lawrence Dunlap

Vicki Morgan and Michael Duran

Arthur Edelmann MFA '82, PhD '91

Rina Eide

Cedar Eiva

MiraBess Eiva

Beth and Travis Eiva

Jennifer and Denny Ellis

Kay and Arthur Emmons

Ruth and Brian Erickson

Jamie Leaf and Kim Eschelbach

Sherilyn and Michael Farris

Thomas Fawkes

Nancy Ponder '84, MA '94 and David Feinstein '04

Steven Fend

Lise Glancy and Dennis Fernandes '87

Jesse Fittipaldi

Ann Rementeria-Floretta and John Floretta

Christine '72 and Lawrence Fong '72

Carolyn* and Mark Foster

Johnny Frady

Sarah Grimm and Brian Fuller

Barbara and James Gant DMD '57

Elizabeth and Michael Garfinkel

Martha McMillen and Allan Gemmell

Theodora Glenn

Elizabeth and Edward Gordon

Quinton Hallett and Dennis Gould '62, MFA '67

Pamela Griffin

Joyce Griffith '81

Dawn and David Guenther

Stephanie and Patrick Hagerty

Hallis

Esther Harclerode MA '11

Judith '64 and Timothy Harold '63, '65

Drew Harrington MLS '76

Stephanie Wood and Robert Haskett

Antoinette Hatfield '50

Kathryn and Mark Heerema

John Heintz

Henriette PhD '87 and Elwin Heiny MA '77

Lynne '79, MS '91 and Dennis Hellesvig '60

Heather Housen '98

Sharon and Mark Housen MBA '66

Noreen Franz-Hovis MS '86 and J. Scott Hovis MS '82

James Howard, Sr. '62, MEd '64, EdD '70

Kathi Wiederhold '76 and Kent Howe MA '78

Joan and Mark Hudson

Lynn Hughes

Cindy and Mark Humphreys

Clem Imfeld MS '93

Corinne '88 and David Jacobs '88, JD '93

Donnel Jansen '90

Barbara and Timothy Jenkins

Margaret Hadaway and George Jobanek '87

Kathellen Johnson

Michael Johnston

Katharine Joyce '72

Christina Kapsa '05

Patrick Kapsa

Sharon MS '88 and Alexander Kelly MLS '76

Nancy and Allen Kibbey '62

Donald Kirby

Eunice Kjaer

Penny MS '81 and Glenn Klein MS '80, JD '82

Pamela Love and George Koris

Gus Lamm

Max Leek

Leslie Scott '88, MA '91 and Charles Lefevre '90

Jennifer Lessard

Beverly Hecht-Levy '77 and Robert Levy

Sherrie Barr and Philip Lewin

Jennifer '82 and Thomas Lindsey

Ellen Eischen and Robert Lipshitz

Mary Llorens

David Lloyd

Christine '73, MBA '76 and Leonard Lonigan

Elizabeth Muller-Lorish '72, MA '77 and Fred Lorish MA '68

Sandra and Roger Ludeman

Linda MS '83 and Philip Lynch MS '69

Susan Markley '64

Barbera Bass and Gary Marshall

Alexander Mathas MA '84

Sandra and Robert Mattielli

Elizabeth and Frederick Maurer

Grace and Michael McCabe MS '88

Pamela McClure

Margot McDonnell

Chris McGowan

Terry Melton* MFA '64

Valerie '95, '13 and Dennis Mickelson '96

Marsha MEd '86 and Leland Miller

Larry Holt and Matthew Miller MS '06

Ruth Miller MS '76

Martha and Thomas Mills MS '67, PhD '74

Jaylynn and Michael Milstein

Mary and Richard Mowday

Bonnie Murdock

Carol Namkoong

Linda Gourlay-Nelkin and David Nelkin

Howard Newman JD '84

Julianne Newton

Andrea Plesnarski and Thomas Nugent

Patrick O'Grady '96, MS '99, PhD '06

Louis Osternig PhD '71

Angela Davis and Sinjin Owen

Vilija Pakaliskis

Laramie MS '83 and Theodore Palmer

Mark Pangborn

Colleen Stewart and Thomas Partridge

Edward Placencia '07

Heather Placencia '06

Barbara and Daniel Pope

Sharon and Michael Posner

Sharon and Otto Poticha

Paula and David Pottinger

Brian Poverman

James Poverman

Sue '75 and Hubert Prichard MEd '72

Maxine and Andrzej Proskurowski

Ivy MS '76 and Mark Pruett

Carole and Milton Quam '62

Claudia Lapp and Gary Rabideau

Mila Raphael

Kathleen Lindlan MS '92, MS '98 and Michael Raymer

Helen Reed '70, MA '77

Ginny '64 and Roger Reich

Martha Reilly

Saelon Renkes

John Rice

Linda and James Robertson '73

John Roupe '04

Beth and Charles Ryer MS '72

Phyllis and Royce Saltzman

Phyllis '77 and Brad Sargeant

Linda Schaefers '69, MLS '76

Jan and Andrew Schink

Teresa Mesa and John Schmidt

Emily Camiener and Marc Schwartz

Alice Davenport and Ernst Schwintzer

Elizabeth and Charles Search, Jr.

David Seip '92

Anuncia Escala PhD '93 and Paul Semonin PhD '94

Nancy '70, MEd '89 and Robert Shapiro

Florence and James Shephard '80

Mary and Ronald Sherriffs

Emily Shinn '13, MA '18

Catherine Siegmund '54

Georgette and Robert Silber

Alice Callicott '83 and William Simmons

Beverly Mazzola and John Simoni

Jane and James Smith

Amie Rodnick and Lawrence Smith

Sara and Oliver Snowden III MBA '90

Martha Snyder

Debby Sundbaum-Sommers and Merrill Sommers

Nancy and James Soriano

Judith Beard-Strubing and Robert Strubing, Jr.

Richard Stumpf MS '87

Janell Sorensen '79 and William Sullivan MA '79

Fay Sunada

Christina Svarverud '94

Virginia and Joseph Sventek

Marion Sweeney

Ingeborg Tarantola '00

Andrea Timmermann '60

Lisa MS '08 and Mark Tolonen

Mary Trombley

Rosemary Delgado MLS '76 and Joseph Udovic MS '88

Judy Van Zile

Carol Vandervort

Duke Vandervort III

William Waddel, Jr.

Jeanne '74 and Darrell Walker '75, JD '80

Alice Warner

Cheryl Warren

Elizabeth Naylor and James Watson MS '91

Lisa Boylan and Kevin Welch

Bradley Welt '83

MaryEllen West '53

Patricia West

Anita '75, MEd '76 and John White '74, JD '84

Pamela Perryman MA '74 and Robert Whitman

Angela Wilhelms

Carol and Thomas* Williams

Elizabeth Witt and Ronald Williams

Norma and Everett Winter '56

Joan Wozniak MA '70, MA '95, PhD '03

Joseph Wyer MS '12, PhD '16

Linda Yeager '06

Cynthia Wenks '03, MEd '05 and Michal Young '83

Karen Zorn JD '85

$1 - $99.99

Joan Canty and Dennis Albers

Judith Lamb '79 and Brian Alexander

Tanya Pitts and Thomas Allnutt

Barry Anderson

Judith Anderson '79, MS '86, MS '87

Norman Anderson

Mija Andrade

Blake Andrews

Laura and Daniel Betty

Cheryl and Darell Bidstrup

Geraldine Moreno-Black and Edward Black

Sara MEd '10 and David Blackwell

Sally and Richard Briggs '56

Tiana E. and Gunnar Buckley

Karrin MS '80 and Theodore Calhoun

Mary Ventura '84 and John Camp

Jewon and Kenji Carp

Julie DePauw MA '75, PhD '89 and Richard Chamberlain MA '77

Joan and Craig Clark II '63, MFA '72

Beth and Scott Clarke MArch '00

Jeanne and Robert Coburn

Suzanne Ortiz and John Criscitiello

Brigitte and John Delay

Mari and Mark Dembrow MEd '74

Maria-Manela and Antonio Diez '70

Patricia Condron and Ronald Dobrowski

Randall Donohue

Amanda Powell and Dianne Dugaw

June Fothergill and James English

Joann and Benjamin Epstein

Rebecca and Noya Epstein

Andrea Farr MS '88

Jennifer and Dino Francois

Rebecca Mikesell and Charles Fuller

Holly and Peter Gallagher '89, MA '93

Arianna and Bayne Gardner

Gay Garland Reed

Corrine and Stephen* Geiger

Hannah and Daniel Goldrich

Marcia and Glenn Gordon

Mary and Donald Gordon MBA '90

Susan Fox and Christian Guigas-Fox '92

Karen MEd '89 and George Hamilton

Tina and Michael Heffernan

Nancy Smith and Peter Hermany

Diane '72 and David Hill '73, JD '79

Barbara and Jon Hofmeister MA '68

Diane Bittiker and Neil Hollander

Margaret and Neil Hollander

Mary and Jack Holley

Victoria Harkovitch '75, MA '90 and John Holtzapple III '91

Carol Jo and Clyde Horn

Sharon Reed and Mark Horney PhD '91

Julie Beck and Adam Horvath

Amelia Mau MA '17 and Brian Hughes

Shara and Benjamin Hulburt

Hanalei Rozen '86, MLA '89 and Gregory Hyde '88

Dawna and Earl Jaffarian '78

Marcia and John Jarrett

Marjan Coester '91 and Todd Jeffries

Andrew Jensen

Sandra and Peter Jensen

Kathleen and Darrel Jenson '76

Miriam Castellón Jordan MS '09 and Max Jordan

Cathryn and Joseph Kasper

M. Isabel '78 and Douglas Kelly '78, MA '84

Brooke and Curt Kendall

Linda MS '85 and Timothy King

Martha MS '87 and Sergio Koreisha

Carolyn '64 and Dean Kortge

Leslie Pohl-Kosbau '72 and Wayne Kosbau

Rebecca and Peter Kovach '74

Judith and Kenneth Kulluson

Dana and Eric Kvernland '74

Laura Carter and David Lains

Megan Landers

Cynthia and Stephen Lane

Darlene and John Lashbrook

Martha MacRitchie and Michael Lewis

Deborah '90, MA '93 and Shlomo Libeskind

Ralene and Raymond Linneman

Sylvia and Marvin Lurie

Ellen and Jack Maddex, Jr.

Peggy and John Mahon

Susan Mannheimer

Genevieve MM '95, DMA '01 and Timothy Mason '89, MM '96

Joan and Michael McDaniel '76

Jill and Gary McKenney '76

Patricia Thomas and Russell Mecredy MArch '80

Jessica and Paul Medaille

Heather Sterling-Minder and Hansjuerg Minder

Elizabeth and James Mohr

Laree and Larry Morgenstern

Karen and Darian Morray

Robin and Kenneth-Roy Mortensen

Elizabeth Broadhead '94 and Jeff Mulford

Barbara MS '78 and John Mundall

Beverly '67 and Richard Murrow, Jr. '65, MFA '67

Nancy and Saul Naishtat MA '95

Carolyn and William Neel

Barbara Stevens-Newcomb '80 and Steven Newcomb

Deborah and Peter Noble

Sharane and Sidney Norris

Joan Globus and Mark O'Harra

Jennifer '97 and Ryan Papé '97

Becki Fujii '76, MEd '89 and Peter Patricelli

Carol '69 and William Peterson '69

Catherine and David Piercy

Linda and David Pompel, Jr. '61, MS '71

Jacqueline '58 and John Pynes MEd '70

Sandra MEd '81 and Richard Quigley

Jessica and Omer Reichman III

Christy McMannis '72, MA '84 and Ronald Renchler MA '77, PhD '87

Gwen and George Rhoads '76

Cynthia Stenger Riplinger MA '01 and Michael Riplinger '85, MS '98

Pamela MS '79, MS '85, PhD '92 and Richard Roman MS '82

Camille and Alan Ronzio MA '70

Andrea Ros

Karen and Nicholas Russo

Rachel Sanders

Kerry and Evan Scannell

Jane MS '10 and Mark Schneider

Kelly and Daniel Schneiderhan

Laura Sanderford and Ronald Schultz

Wendy and William Schwall '76

Courtney Leonard MEd '99 and Jesse Scott '98

Stephanie MA '80 and Douglas Sears MA '69

Marsha and Steven Shankman

April Simandl

Shoshannah Crow and Lawrence Siskind MEd '09

Patricia '82 and John Skipper

Becky and Rodney Slade MLS '76

Anne Teigen and Robert Smith

Deborah Williamson-Smith '19 and Scott Smith

Gayle Delgrosso and Terry Smith

Judith MEd '82 and Raymond Sobba

Katherine and Joseph Softich

Jane and Nick Squires

Catharine and Raymond Staton

Sheila and Richard Steers

Carolyn and Joseph Steinbach

Sarah Grew and Michael Stern

Merrily and Martin Sutton MA '78

Lana and Grady Tarbutton

Lois and Arnold Taylor MS '71

Esther Jacobson-Tepfer and Gary Tepfer '75

Pauline and Simon Thaler '89

Diane Etzwiler MArch '90 and Robert Thallon MArch '73

Rebecca and Nicholas Urhausen

Janice and James Ward

Lisa Lorens and Michael Webb MS '83

Sandra Weingarten

Judith Nakhnikian-Weintraub and Mark Weintraub

Gesell Brook '70 and Bradford Whiting

Lee and Ray Wiley

Darla and James Wilson

Laura '02 and Michael Wilson '03

Leslie and Charles Wright

Jennifer and Bernard Yamron

Sylvia and Stephen Young

Ann MFA '89 and William Zeman

Heather and Kurt Zimmer '91

Holly and William Zurowski

FY20 Gifts in Honor

In honor of Linda d'Agosto-Yeager

Michael Liebling

In honor of Jill Hartz

Anthony Cranford

Eleana Del Rio

Betty Soreng and Eben Dobson Jr.

Jamie Leaf and Kim Eschelbach

Janine and Joseph Gonyea III

Esther Harclerode MA '11

Cheryl Hartup

Anne Rose Kitagawa

Ellen Climo and Marc Lipson

Vinie and J. Sanford Miller

Natalie and Robin Newlove

Lauren Nichols MS '17

Gina and Stuart Peterson

Carol '75 and Keith Richard '64

Jordan Schnitzer ‘73

Emily Shinn '13, MA '18

The William H. Donner Foundation, Inc.

In honor of Meg Kelley

Erin Bartuska

In honor of Jordan D. Schnitzer

Richard Lloyd

FY20 Gifts in Memory

In memory of Richard P. Easley

Hue-Ping Lin MS '86, PhD '91

Diana Learner and Carolyn Simms*

In memory of Carolyn Foster

Polly and Brian Caughey

Carol and Richard Clark

Amie Rodnick and Lawrence Smith

In memory of Wan Koo Huh

Janine and Joseph Gonyea III

In memory of Hope Hughes Pressman

Marceline Hammock and Herbert Merker '62

Arlene Schnitzer*

Jordan Schnitzer '73

In memory of Arlene Schnitzer

Emily Camiener and Marc Schwartz

FY21 Gifts in Honor

In honor of Anne Rose Kitagawa

Mary Jean and Lee Michels

FY21 Gifts in Memory

In memory of Denise Anderson

Valerie '95, '13 and Dennis Mickelson '96

In memory of Charles W. Rusch

Beth and Charles Ryer MS '72

In memory of Sally Smith

Amy and Jinhyung Cho

Larry Holt and Matthew Miller MS '06

In memory of Rick Williams

Julianne Newton

Arnold Bennett Hall

Legacy Society

The ABHLS honors individuals who provide for the future of the University of Oregon in their estate plans. The following individuals have included the Jordan Schnitzer Museum of Art in their wills. We are grateful for their support.

Anonymous (2)

Ann Brewer '53

Linda Lawrence-Canaga and Robert Canaga '90

Anne and Terrence Carter

Julie Collis

Harryette Lindley

Lucile McKenzie '78, MA '83

J. Sanford Miller

Michael Mooser

Ellen and Alan Newberg MFA '69

Carol '75 and Keith Richard '64

Nancy '68 and Michael Rose '62

Christine and David Sahn

Christine and Chris Smith '67

Eba and Jerry Sohn

Sharon Ungerleider '74, MFA '77

Barbara MS '83, PhD '89 and James Walker

Margo Grant Walsh '60

Terri Warpinski

Daniel Webb

Michelle Wood

FY20 Donors of Art

American Academy of Arts and Letters

Kathleen Caprario

Catharine Clark Gallery and TERAOKA Masami

Laura Chrisman

Colin Cooper

Tom Cramer

Martha Daura

Estate of Hattie Mae Nixon

Estate of Myrna Báez González

Lorrie L. and Richard L. Greene

Beth Bryant Tucker and Kathryn Hahn

Marcia and David Hilton

Family of Ju I-Hsiung

Terry and Michael Kopald

Hue-Ping Lin MS '86, PhD '91

Amanda Marie

Michael McIlrath

Lilliam Nieves

Christine and Chris Smith ’67

Margo Grant Walsh '60

Michael Yachnik

FY20 Donors to Acquisitions

Jane '88 and Paul Kaplan

Hue-Ping Lin MS '86, PhD '91

Natalie and Robin Newlove

Elizabeth Moyer and Michael Powanda

Alice Callicott '83 and William Simmons

The William H. Donner Foundation, Inc.

Victoria and Jeffrey Wilson-Charles

FY21 Donors of Art

Anonymous (3)

Jane Beebe

Donna Carter

Jeanne and Robert Coburn

Martha Daura

Roger Dorband

Estate of Hattie Mae Nixon

Estate of Norman Lane

Estate of Richard Paulin

Estate of Thomas E. Autzen

Estate of William Mitchell

Kyungsook Cho Gregor '61, MS '63 and John Gregor '56

Marion and Paul Goldman

Beth Bryant Tucker and Kathryn Hahn

Michael Hames-Garcia

Kathryn Kruger-Hickman '12 and R. Craig Hickman

Marcia and David Hilton

Bruce Howard

Susan and Matt Janin

Sandy and Terry Kita

Irwin Lavenberg

Barbara B. Lewis

Jonathan Lampert

Thomas Megan

Thomas Nash

Kenneth O'Connell '66, MFA '72

PDX Contemporary Art

PhotoAlliance

Adrian Rivas

Susanne Schumann

The Proctor Foundation and Museum

Tony Podesta Collection

Lewis Watts

Anne Phillips and Gary Weck

FY21 Donors to Acquisitions

Korea Foundation

Kathryn and Herbert Hahn

Ellen Tykeson '76, MFA '94 and Ken Hiday

Jane Ingle

Mary Jean and Lee Michels

Elizabeth Moyer and Michael Powanda

Claudia Lapp and Gary Rabideau

Grants and Foundation Support

FY20

Art Bridges $6,300

Coeta and Donald Barker Foundation $10,000

The Ford Family Foundation $107,000 Oregon Arts Commission, a state agency - CARES $16,262

FY21

Art Bridges $40,000

Coeta and Donald Barker Foundation $25,000

The Ford Family Foundation $21,000

Oregon Arts Commission, a state agency $8,618

Oregon Cultural Trust and the state of Oregon - CARES $26,821

The W.L.S. Spencer Foundation $20,000

The JSMA thanks the following businesses and individuals for in-kind donations:

Broadway Metro

City of Eugene Cultural Services

Clothes Horse

David Minor Theatre

Duck Store

Eugene Magazine

Falling Sky Brewery

Flying Dog Brewery

FastSigns Eugene

Graduate Hotel

J Tea International

Marché Provisions

Museum of Natural and Cultural History

Oregon Contemporary Theater

The Shedd Institute for the Arts

St. Vincent de Paul

Sundance Market

Tailored Coffee

UO Craft Center

UO Outdoor Program

UO Rec Center

Very Little Theatre

Yogurt Extreme

The JSMA provided in-kind donations to support the following organizations:

Business Commute Challenge, A Family for Every Child, Bags of Love, Ballet Fantastique, Campbell Community Center, Charlemagne French Immersion Elementary School, Clear Lake Elementary School, Community Alliance of Lane County, Co-op Family Center, Edgewood Community School, Eugene Springfield Youth Orchestra, Fern Ridge Middle School, Head Start of Lane County, HIV Alliance, Kidsports Justin Herbert Invitational Golf Tournament, Lane County Master Gardener Association, Mayor’s Art Show, Malabon Elementary School, Maple PTA, Materials Exchange Community Center for Arts, Muscular Dystrophy Association, Oregon Children's Choir, Oregon Contemporary Theatre, Oregon Tech Tour, Parenting Now!, Point2point Lane Transit District, Relief Nursery, River Road Santa Clara Volunteer Library, Rogue Gallery, Roosevelt Middle School, Rose Children's Theater, Royal Caribbean International, Shasta Middle School, Sponsors Inc., Spring Creek Elementary School, St. Vincent de Paul, Travel Lane County, United Way, Veneta Elementary School, Willamette Family Treatment Center

STAFF, STUDENTS & VOLUNTEERS

FY20-FY21

STAFF

Administration

John Weber

Executive Director (Oct. ’19 -)

Jill Hartz

Executive Director (- Oct. ’19)

Kurt Neugebauer

Associate Director of Administration & Exhibitions

Kaylee Prebeck

Executive Assistant

Karri Pargeter

Business Manager

Megan Green

Accounting Technician

Collections

Christopher White

Collections Manager

Miranda Callander

Head Registrar

Joey Capadona

Chief Preparator

Erin Doerner

Assistant Registrar

Anthony Edwards

Exhibition/Collections Preparator

Noah Greene

Exhibition/Collections

Preparator

Elizabeth Larew

Collections Assistant

Mark O’Harra

Exhibition/Collections Preparator

Beth Robinson-Hartpence

Exhibition/Collections

Preparator

Jonathan Smith Collections Database Coordinator & Photographer

Communications

Mike Bragg

Design Services Manager

Debbie Williamson-Smith

Communications Manager

Curatorial

Anne Rose Kitagawa

Chief Curator of Collections & Asian Art and Director of Academic Programs

Cheryl Hartup

Curator of Academic Programs and Latin American & Caribbean Art (- Jul. ’21)

Jill Hartz

Curator of Contemporary Art & Advisor to the Director (Oct. ’19-Dec. ’19)

Richard Herskowitz Curator of Media Arts (- Dec. ’19)

Danielle Knapp

McCosh Curator

Thomas Sempere Interim Associate Curator of Photography

Emily Shinn

Curatorial Extern in American and European Art (- June ’21)

Development

Esther Harclerode Senior Associate Director of Development

Tiana E. Buckley

Development Program Manager (Nov. ’19 - )

Lauren Nichols

Development Program Manager (- Oct. ’19)

Education

Lisa Abia-Smith Director of Education and Outreach

Hannah Bastian Museum Educator for Studio Programs and Special Projects

Sherri Jones

Assistant Administrator of Education

Facilities

Justin Stuck

Facilities Services Coordinator

Carlos Rodriguez

Custodian

Risk Management

Bethanie Nix

Museum Security

Administrator (Nov. ’19 - )

Anthony Cranford

Museum Security Administrator ( - Nov. ’19)

Security Officers:

Dee Atkinson ( - July ’21)

Rebecca Crowder

Dawn Davey

Kim Diaz

Kerry Wade

Visitor Services & Events

Paul Nordquist

Special Events Assistant

Jamie Leaf Visitor Services & Facility Rental Coordinator

Classified Temp

Irene Arce-Gaxiola, Translator, FY20 & FY21

Jacob Armas, Development Program Assistant, FY20

Alisha Camden, Museum Assistant, FY20 & FY21

Yinxue Chen, Curatorial Admin Program Assistant, FY20 & FY21

Jeremy Eclarinal, Events Team, FY20

Darryl Evans, Museum Technician, FY20

Savannah Evans, Visitor Services & Communications

Assistant, FY20 & FY21

Marianna Finke, Visitor Services & Communications

Assistant, FY20 & FY21

Shayna Horowitz, Education Program

Assistant, FY20

Susan Mannheimer, Visitor Services FY20 & FY21

Cassidy Shaffer, Education Program Assistant, FY20

Jessica Zapata Mendoza, Education Workshop

Instructor, FY20 & FY21

Rayna Viles, Development Program Assistant, FY21

Michael White, Museum Technician, FY20 & FY21

Samantha Wrigglesworth, Museum Technician, FY20 & FY21

STUDENT WORKERS, PRACTICUM STUDENTS, INTERNS, ARTISTS & VOLUNTEERS

Communications

Samantha Ahnen, FY21

McKenna Scott, FY20

Collections/ Curatorial

Emily Beckstrand, FY20

Alisha Camden, FY20

Kate Chiddix, FY20

MacKenzie Coyle, FY21

Mackenzie Deutsch, FY20 Tom Fisher, FY20

Abby Hoedebeck, FY20

Bokyoung Hong, FY20

Aqsa Khaliq Khan, FY20 & FY21

Emily Lawhead, FY20 & FY21

Ariel Lenkov, FY20

Ya-Chiao Li, FY21

Christin Newell, FY20 & FY21

Cyrus Ranjbar, FY21

Heather Tietz, FY21

Prep

Kittara McSwiney, Student Intern FY21

Clancy O'Connor, FY20 & FY21

Development

Sophie Agocs, FY20

Aubrianna Covington, FY20

Shae Daly, FY20

Geoffrey Henderson, FY20

Jenna Lee, FY20

Jake Moushey, FY20

Carleigh Ocon, FY20

Silvia Rosa Palleroni, FY20

Tatum Ramsey, FY20

Nia Roberts, FY20

Hatsue Sato, FY20

McKenna Scott, FY20

Karsten Skoch, FY20

Rayna Viles, FY21

Education

Ugochukwu Akabike, FY20

Saher Alladin, FY20 & FY21

Erin Boley, FY21

Kristen Clayton, FY20

Lily Cronn, FY20

Dante Fumagalli, FY20

Anastasia Harper, FY20

Jessica Hole, FY20 & FY21

Leuapoutasalina Leoso, FY20 & FY21

Kayla Lockwood, FY21

Madeline Louie, FY20

Rex Manu, FY20

Brittany Mattice, FY20 & FY21

Austin Nunis, FY20

Rosemarie Oakman, FY20

Alexander Pratt, FY20

Calder Smith, FY20

Kelley Sullivan, FY20

Carli Torti, FY20

Xiaorui Zhao, FY20

Visitor Services

Sophie Ackerman, FY20

Saher Alladin, FY21

Jacob Armas, FY20

Isabelle Cho, FY20

Isabella Cirillo, FY21

Dante Fumagalli, FY21

John Guzman, FY20

Narsingh Khalsa, FY20

Ben King, FY20

Asha Logan, FY20 & FY21

Taha Mirghorbani

Nokandeh, FY20

Elizabeth Renchler, FY20 & FY21

Emma Tapia, FY20

Parker Totten, FY21

McKale Walker, FY20 & FY21

Emma Williams, FY21

Jackie Yerke, FY21

Rosie Yerke, FY21

Events Team

Kale’a Calica-Younker, FY20

Gabrielle Gervilla, FY20

Julio Jaquez, FY20

Katelyn Jones, FY20

Ben King, FY20

Isaiah Lightdancer, FY20 & FY21

Simmi Uppal, FY21

Student Monitors

Anapaola Araujo Tupayachi, FY20 & FY21

Dylan Bauer, FY21

Kiana Burns, FY20

Savanah Campbell, FY20 & FY21

Student Monitors (continued)

Katherine Chiddix, FY20 & FY21

Kayla Degenfelder, FY20

Mackenzie Deutsch, FY20

Madison Drozd, FY20

Jillian Dveirin, FY21

Eden Evans, FY20

Tamsin Fleming, FY20 & FY21

Dante Fumagalli, FY20 & FY21

Thomas Gariepy, FY20

Olivia Herring, FY20

Araceli Holmes, FY20 & FY21

Jackson Jarvis, FY20

Narsingh Khalsa, FY20 & FY21

Emma Lindberg, FY21

Adeline Norris, FY20 & FY21

Max Norris, FY20 & FY21

Erika Parisien, FY20 & FY21

Ricky Pham, FY20

Victoria Railsback, FY20

Elizabeth Renchler, FY20 & FY21

Morning Glory Ritchie, FY21

Molly Roman, FY20 & FY21

Brian Salazar, FY20 & FY21

Oli Schultz, FY20 & Y21

Shade Streeter, FY20

Baily Thompson, FY20 & FY21

Ashley Younger, FY21

FY20 World of Work Internship Program

Danger Adams

Brooke Donaty

Murcia Finlay-Murcia

Brynn Gerl

Grace No

Indira Rengifo

Elizabeth Titus

Clio Tveskov

Aubree Woods

Facilities

Dylan Bauer, FY20 & FY21

JSMA Student Advisory Council (JSMAC)

McKenna Scott, FY20

FY20 LEADERSHIP COUNCIL

&

COMMITTEES

Leadership Council

Randy Stender, President

Andrew Teufel, Co-Vice President

Ellen Tykeson, Co-Vice President

Ina Asim

Emily Beckstrand, Graduate Student Representative

Chris Chavez

Sarah Finlay

Cheryl Ramberg Ford**

James Harper

Ken Kato

Sue Keene**

Doug Park

Paul Peppis

Eric Roedl

McKenna Scott, Undergraduate Student Representative

Christine Smith

Sharon Ungerleider

Dom Vetri

Susy Wadsworth

James Walker, Past President

**Honorary Member

Executive Committee

Randy Stender, Chair, President

James Walker, Past President

Ina Asim

Paul Peppis Eric Roedl

Christine Smith

Ellen Tykeson, Vice President

Staff representatives: John Weber, Staff CoChair; Esther Harclerode, Anne Rose Kitagawa, Kurt Neugebauer

Collections Committee

Ina Asim, Chair

Terry Carter

Sarah Finlay

David Hilton

Brian Gillis

James Harper

Sue Keene

Lee Michels

Dom Vetri

Staff representatives:

Danielle Knapp, Staff CoChair; Cheryl Hartup, Anne Rose Kitagawa, Thom

Sempere, Emily Shinn, John Weber, Chris White

Development Committee

Christine Smith, Chair

Ken Kato

Sue Keene

Chris Smith

Randy Stender

Sharon Ungerleider

Susy Wadsworth

Staff representatives: Esther Harclerode, Staff Co-Chair; Tiana E. Buckley, McKenna Scott, John Weber

Finance Committee

Eric Roedl, Chair

Lauren McHolm

Doug Park

Randy Stender

Staff representatives: Kurt Neugebauer, Staff Co-Chair; Karri Pargeter, John Weber

Long-range Planning Committee

Ellen Tykeson, Chair

Sarah Finlay

David Hilton

Ken Kato

Patrick Murcia

Julianne Newton

Doug Park

Eric Roedl

Randy Stender

Chris Smith

Christine Smith

Staff representatives:

John Weber, Staff Co-Chair; Esther Harclerode, Kurt Neugebauer

Nominating Committee

James Walker, Chair

Chris Chavez

Lee Michels

Doug Park

Sharon Ungerleider

Staff representatives:

John Weber, Staff Co-Chair; Tiana E. Buckley, Esther Harclerode

Program Support Committee

Paul Peppis, Chair

Patti Barkin

Jeff Hanes

Cindy Humphreys

Ken Kato

Staff representatives:

Lisa Abia-Smith, Staff CoChair; Cheryl Hartup, Anne Rose Kitagawa, Danielle Knapp, John Weber, Debbie Williamson-Smith

FY21

LEADERSHIP COUNCIL

&

COMMITTEES

Leadership Council

Ellen Tykeson, President

Sarah Finlay, Vice President

Ina Asim

Patti Barkin

Ashley Espinoza

Cheryl Ramberg Ford**

James Harper

David Hilton

Ken Kato

Sue Keene**

Lee Michels

Juan-Carlos Molleda

Doug Park

Paul Peppis

Lesley-Anne Pittard

Eric Roedl

John Schwartz

Christine Smith

Randy Stender, Past President

Susy Wadsworth

**Honorary Member

Executive Steering Committee

Ellen Tykeson, Chair, President

Sarah Finlay, Vice President

Randy Stender, Past President

Ina Asim

Patti Barkin

Ken Kato

Doug Park

Paul Peppis

Eric Roedl

Christine Smith

Staff representatives:

John Weber, Staff Co-Chair;

Lisa Abia-Smith, Esther Harclerode, Anne Rose

Kitagawa, Danielle Knapp,

Kurt Neugebauer, Debbie Williamson-Smith

Collections Committee

Ina Asim, Chair

Sophie Agocs, Undergraduate Student Representative

Terry Carter

David Hilton

Brian Gillis

James Harper

Sue Keene

Lee Michels

Ellen Tykeson

Dom Vetri

Staff representatives:

Danielle Knapp, Staff CoChair; Cheryl Hartup, Anne

Rose Kitagawa, Elizabeth

Larew, Thom Sempere, Emily Shinn, John Weber, Chris White

Development Committee

Christine Smith, Chair

Larry Fong

Sue Keene

John Schwartz

Chris Smith

Ellen Tykeson

Susy Wadsworth

Staff representatives:

Esther Harclerode, Staff Co-Chair; Tiana E. Buckley, John Weber

Education Committee

Patti Barkin, Chair

David Hilton

Cindy Humphreys

Peggy Marconi

Malik Lovette

Alex Pratt

Cathryn Stephens

Ellen Tykeson

Staff representatives:

Lisa Abia-Smith, Staff Co-Chair; Hannah Bastian, Sherri Jones, John Weber

Communications & Engagement

Sarah Finlay, Chair

Kate Ali

Ashley Espinoza

Lauren McHolm

Juan-Carlos Molleda

Julianne Newton

Lesley-Anne Pittard

Randy Stender

Ellen Tykeson

Aimee Yogi

Staff representatives: Debbie Williamson-Smith, Staff Co-Chair; Tiana E. Buckley, John Weber

Faculty Engagement

Working Group

Paul Peppis, Chair; Professor, Department of English, Director of the Oregon Humanities Center

Kirby Brown, Associate Professor, English

Roy Chan, Associate Professor, East Asian Languages

Stephen Dueppen, Associate Professor, Anthropology

Chiara Gasparini, Assistant Professor, History of Art and Architecture

Vera Keller

Associate Professor, History

Kate Kelp-Stebbins, Assistant Professor, English

Joseph (Joe) Lowndes, Professor, Political Science

Dorothee Ostmeier, Professor, German, Folklore and Public Culture, Head, Department of Theater Arts

Emily Scott, Assistant Professor, History of Art and Architecture and Environmental Studies

Marsha Weisiger, Associate Professor, Julie and Rocky Dixon Chair of U.S. Western History; Co-Director, Center for Environmental Futures

Amanda Wojick, Professor, Department of Art

FY20 & FY21 Exhibition

Interpreters

Rosalie Badrian

Patti Barkin

Rebecca Bradvica

Adrienne Colaizzi

Susan Creed

Elaine DeMartin-Webster

Leanne Ellis

Ann Fidanque

Jennifer Frenzer-Knowlton

Melissa Green

Maria Gulemetova

Mary Halpert

Victoria Harkovitch

Tina Heffernan

Marcy Holle

Cindy Humphreys

Cathy Irwin

Becky Janssen

Doug Kelly

Nancy King

Penny Klein

Ruth Koenig

Fran Kornfeld

Anita Larson

Ralene Linneman

Cathy Mosqueda

Nancy Naishtat

Patricia O’Shea

Elaine Pruett

Georgia Quick

David Regnier

Colette Richardson

Janet Robyns

Camille Ronzio

Sheila Roth

Barbara Snow

Jan Wagner

Allison Walker

MaryMaggs Warren

FY20 & FY21 Dragon Puppet Theatre

Paula Coen

May Downey

Margaret Leutzinger

Paula Naas-Gilbert

Jean Nelson

Sharane Norris

Yvonne Stephens

Lee Wiley

Above: Roger Shimomura (Japanese-American, b. 1939), American Alien #3, 2006. Acrylic on canvas, 36 x 24 in. Museum purchase through the Hartz FUNd for Contemporary Art. 2020:7.1