JSMA Fall 2021 by jsmauo

FALL 2021

JORDAN SCHNITZER MUSEUM OF ART

In Memoriam

Hung Liu

Hung LIU (LIU Hung 刘虹, Chinese-born American, 1948-2121). All the Ancestors, 2011. Mixed media triptych, 60 x 100 inches. Gift of Artist Hung Liu and Trillium. Graphics/David Salgado, 2018

We are deeply saddened to share the terrible news of the passing of Hung Liu, the renowned Chinese-born American artist whose exhibition Remember This: Hung Liu at Trillium will open at the JSMA in February, 2022. Hung Liu lived through the tumult of China’s Cultural Revolution (1966-76) and relocated to the U.S., where she became a prominent artist and venerated educator. Liu’s immense oeuvre of powerful paintings, mixed media works, and installations dedicated

to themes of shared humanity and social justice have inspired and uplifted generations. We had looked forward to bringing her back to campus in conjunction with our upcoming exhibition, which will present a body of work that she and the late Trillium Graphics master printer David Salgado donated to the JSMA in an act of profound generosity. The exhibition and subsequent catalogue will now be a posthumous celebration of her incredible life and work.

View the Hung Liu Collection https://bit.ly/2ZDUtHZ

DIRECTOR’S REPORT | FALL 2021 First of all, let’s talk about art and our exhibitions! We have terrific shows on view this fall, and I hope that all of you will be able to see them. As this momentous and exhausting year rolls to a close, I’m energized by the range and strength of our exhibitions, including some extraordinary pieces in the Shared Visions program. Presented in the Barker Gallery, our biggest fall exhibition is Art of the News: Comics Journalism. The curatorial brainchild of Asst. Prof. Portrait by Audra McNamee Kate Kelp-Stebbins, together with her colleague, Professor Ben Saunders, it is the first museum exhibition in the country to document and assess what has come to be called “comics journalism,” a new field originated largely by UO alumnus Joe Sacco. Internationally acclaimed and published in 14 languages, Sacco’s work has helped inspire a movement that unites first-person reportage, on-site fieldwork, and journalistic research with graphic narrative presentation. You can read about it elsewhere in this issue, so I won’t go into detail here, but I do want to emphasize the significance of this project. This is an international movement, and the exhibition amply demonstrates its impact and importance. There’s also a deep Oregon connection: Joe Sacco is based in Portland, and Sarah Mirk, one of the other comics journalists in the show, is also one of the creators of The Nib, a Portland-based website that is the most significant home to comics journalism today. My thanks to Kate for her curatorial and scholarly work on the show, to Ben for curatorial advising, and a big thanks to the JSMA’s Kurt Neugebauer, our Associate Director of Administration and Exhibitions, who served as the exhibition’s manager and designer. Our thanks to The Ford Family Foundation for a grant in support of the exhibition. I’m also delighted about the unique exhibition of silver we’ll have on view in the MacKinnon Gallery this year, a long-overdue examination of the work and impact of Clara Barck Welles. A fascinating historical figure, Welles was the artistic and entrepreneurial force behind the Kalo Shop of Chicago and New York, the most influential creator and purveyor of American Arts & Crafts hand wrought silver. The work is drop-dead gorgeous, and the Kalo Shop’s impact stretched across the entire first half of the 20th century. Welles was also a notable social reformer and a committed suffragette, who led the Illinois delegation to Washington D.C. in 1913 to march for “Votes for Women.” I had the pleasure of working with the distinguished UO alumna, architect, and silver collector Margo Grant Walsh on this project, together with architect and designer Marilyn Archer of Houston. The show features many of Margo’s donations to the JSMA, along with works from the Portland Art Museum and a select group of private collectors. Read more about the show and Clara Barck Welles elsewhere in this issue of the magazine!

We have some stunning works on view now in our Shared Visions program, including an amazing cycle of drawings by the prolific 1980s painter Jean-Michel Basquiat. We have had some great individual paintings by Basquiat on view over the past two years, but this group of works from 1982-83 shows off Basquiat’s protean graphic imagination better than anything we’ve had since my arrival. He’s at the height of his creative power here, moving through a dizzying range of historical eras, figures, and topics. Individual pages demonstrate Basquiat’s seemingly effortless flow of ideas onto the page, like a graphic stream-of-consciousness. You can look at these drawings forever and never exhaust their energy, originality, and the probing, restless intellect they demonstrate. Happily, we’ll have them on view through the middle of December. In support of the university’s Common Reading program, which centers on Robin Wall Kimmerer’s Braiding Sweetgrass, we will present an array of work by Indigenous artists, most of them from Oregon, in an exhibition titled Meeting Points. It is organized by Danielle Knapp, our McCosh Curator for Northwest Art. Looking back to the summer, I am delighted to offer thanks and congratulations to all of the artists in the Black Lives Matter Artist Grant Program Exhibition. The artists’ voices are powerful and bracingly varied, and the exhibition, on view through November 21, presents some exceptionally strong work by young and emerging artists. My thanks again to Dr. Aris Hall from the Black Cultural Center for collaborating on this important project, and to Jordan Schnitzer for approaching the museum with the idea of the grant project originally, and supporting it and the museum’s exhibition so generously. The exhibition opened in July to widespread audience acclaim and media coverage, and was the highlight of our Summer Reception, which drew over 650 visitors to our front lawn and galleries. If you weren’t there, check out the video bit.ly/JSMAreception—it was truly a great event! And if you haven’t seen the show yet, there’s still plenty of time, and we also have a virtual tour on our website now. My thanks to everyone who helped make the reception such a success, including Shanae Joyce-Stringer, SoulFusion, DJ Ant, Eric Richardson and Paul Sazar, and Shawn W. Goddard. And a particular thanks to the JSMA’s Debbie WilliamsonSmith, who spear-headed the evening, and JSMA Business Manager Karri Pargeter, without whom we would not have pulled it off. And a big thanks to Joey Capadona, Mark O’Hara, Beth Robinson, and Noah Greene, our prep team, for making the show look so good in our galleries. Looking back, I’m also pleased and more than a bit amazed to be able to report that the museum finished the year with a balanced, no-deficit budget, thanks to strong fundraising, careful budget management, and our support from the UO. My thanks to all our donors for sticking with us even when they couldn’t visit. My thanks to the Coeta and Donald Barker Foundation for supporting our Art Heals program and our research with the OHSU and to The Ford Family Foundation.

JSMA

BLACK LIVES MATTER

Artist Grant Program Exhibition A Jordan Schnitzer Family Foundation Project

Jean-Michel Basquiat’s The Daros Suite of thirty-two drawings will be on view through December 12, 2021.

Speaking of visiting, as I write the Delta variant is spreading in Oregon, and nationwide. Despite that, we do anticipate that the museum will remain open from here on out, but with masks required. I don’t see that changing soon. Check our website for up-to-the-day reports on any and all events for the fall. We are planning a celebration of our fall shows, centered around an Open House in our galleries, with a limitedoccupancy welcome area. I look forward to welcoming you personally, wearing my mask, and we’ll have our staff dispersed throughout the museum to greet you, chat, and comment on the exhibitions. We won’t be able to offer masks-off food and drink, but we look forward to a festive, in person event. Finally, some news it hurts to report. In August we received the deeply sad news that artist Hung Liu had passed away after a struggle with pancreatic cancer. This is a terrible loss for art, and for the JSMA as well. Hung was a stunningly gifted, strikingly original, profoundly humane artist. We have all been looking forward to Hung’s exhibition here in 2022, featuring the work she so generously donated to the museum’s collection, together with Trillium Graphics. You will recall her work from the pages of this magazine and from visits to our Soreng Gallery, where it has regularly been on view. My own life and career intersected Hung’s regularly from her arrival in California in the 1980s to the present, and this is a bitter loss. Our exhibition will still celebrate Hung’s art and generosity, but we will miss her effervescent presence, wisdom, and sparkling sense of humor more than words can express. Our hearts go out to her husband, Jeff Kelley, and their son Ling Chen Kelley. Keep staying safe, keep masking, and I’ll see you in the museum. John Weber

Take a virtual tour! https://bit.ly/3AQ4KhT

Black Lives Matter and “Personal History” - In the Gallery and On Stage In collaboration with the UO Theater Department November 10, 6:00 p.m. In conjunction with the Black Lives Matter Grant Program Exhibition, the museum and the UO Department of Theater Arts will collaborate on an innovative program bringing together artists in the exhibition and members of the cast for the department’s winter play, Personal History. Written by Dominic Taylor of the UCLA School of Theater, Film and Television, the drama tells the story of “an African-American couple as they navigate three moments in American history, stretched out over a century in the city of Chicago.” The UO production will be directed by Dr. Stanley Coleman. The JSMA/Theater event will include a short video of UO actors performing scenes from the play and a conversation between actors, production members, and artists in the exhibition. The artists, including a number who are current or recent UO students as well, will also discuss their works on view.

Día de los Muertos November 1 & 2 Procession starts at 5 p.m. (meet in front of the JSMA) Performances start at 6 p.m. on YouTube or an outdoor screening at JSMA The Jordan Schnitzer Museum of Art, Oak Hill School, MEChA de UO, Division of Equity and Inclusion UO, and Adelante Sí invite you to the 40th annual celebration of el Día de los Muertos. Guests are invited to join the Día de los Muertos procession through the UO campus, followed by a streamed musical performance by Los Musiqueros, dancing by Ensamble Identidad y Folclor, activities with artist Ray Gonzalez, and an art exhibition by Grabadores Guanajuatenses.

https://jsma.uoregon.edu/dayofthedead

Gracias, Armando! Armando Morales has been bringing this authentic DIa de los Muertos celebration to the Eugene community for 40 years. Congratulations, Armando, Rebeca Urhausen, and all of our partners at Oak Hill School, MEChA de UO, Division of Equity and Inclusion UO, and Adelante Sí.

Windowfront Exhibition October 8 - November 28, 2021 833 Willamette Street

We are taking our Day of the Dead celebration to the heart of downtown with a windowfront exhibition. While you are there, check out the Carrie Mae Weems’ RESIST COVID | Take 6! installations at 1059 Willamette Street and 510 Oak Street. Sponsored by City of Eugene Cultural Services.

Fiesta Cultural The JSMA is a proud sponsor of Lane Arts Council’s Fiesta Cultural, Lane County’s largest celebration of Latino/a/x arts and culture. For a complete list of LatinX events through December, visit: http://lanearts.org/fiesta-cultural/

The Art of

Comics

the News

Journalism

Barker Gallery | September 24, 2021 – January 16, 2022 At a time of eroded public faith in traditional news media, comics journalism has emerged as a powerful antidote to the dissemination of inaccurate information and fake news. Practitioners in this field re-assert the ethical value of truth-telling, while at the same time foregrounding the inevitably subjective dimensions involved in any act of witnessing. Without shying away from vital questions about the role of representation in the perception of reality, comics journalists are nevertheless telling stories that urgently need to be told—in an immediate and accessible way. As such, the best works of comics journalism stand as compelling examples of how the news might be reimagined as an artistic practice.

Curated by UO Comics Studies professor, Katherine Kelp-Stebbins, with associate curator and director of Comics Studies, Professor Ben Saunders, “The Art of the News” is the first major retrospective devoted to this increasingly influential genre of visual narrative. The exhibition spotlights original artwork and artifacts representing over thirty years of reportage by New York Times best-selling author-artist Joe Sacco, a foundational figure in the field—and a graduate of the UO. Accompanying Sacco’s groundbreaking work are key pieces from an international group of artists who have developed comics journalism and are pushing the genre in new directions, including Gerardo Alba, Dan Archer, Thi Bui, Tracy Chahwan, Jesús Cossio, Sarah Glidden, Omar Khouri, Victoria Lomasko, Sarah Mirk, Ben Passmore, Yazan al-Saadi, and Andy Warner.

By focusing not only on the finished works, but also on the methodology and techniques that each artist employs—the painstaking gathering of information through extensive research and interviews, and the labor-intensive production of comics pages—the exhibition highlights the ethical imperatives that drive this form of documentation. Comics journalists repudiate the vapid sensationalism of “click-bait” headlines, and the simplistic valorization of false objectivity. Against the all-toorapid flow of the 24-hour news cycle, they demonstrate the principles of in-depth inquiry, insisting on the human dignity of the subjects whose lives they document, from the experiences of displaced persons in refugee camps (Sacco 2013; Glidden 2016; Archer 2020) to that of frontline workers in a pandemic (Mirk and Bui 2020), to protestors of environmental devastation (Warner 2017; Cossio 2019) or race-based state-sponsored murder (Passmore 2016-21) and Putin-era censorship (Lomasko 20162020).

For a list of related events, please visit: https://jsma.uoregon.edu/ComicsJournalism 6

A New Woman

Clara Barck Welles, Inspiration & Influence in Arts & Crafts Silver MacKinnon Gallery | October 9, 2021 – October 2, 2022

Image: Fowler Studio, 1906, Evanston, Illinois

This year in the MacKinnon Gallery, A New Woman — Clara Barck Welles, Influence and Inspiration in Arts & Crafts Silver will feature a stellar group of silver works focusing on the artistic work, career, and feminist social activism of one of the nation’s most noteworthy early 20th century artisans and entrepreneurs. Showcasing works in the collections of the JSMA and the Portland Art Museum, together with rarely exhibited pieces from select private collections, the show will be on view at the JSMA through October 2, 2022. It will be accompanied by a publication including essays by noted scholars of American Arts & Crafts metalwork, Sharon S. Darling and Darcy L. Evon. Together, the exhibition and publication will document an important chapter in the history of the American Arts and Crafts Movement. Clara Barck Welles has long been recognized as the founder and owner of the Kalo Shop of Chicago, famous for its elegant Arts & Craft silver hollowware, flatware, and jewelry. Under her tutelage, the Kalo Shop trained and supported generations of designers, jewelers and silversmiths from its heyday from the early 1900s through the depression, until it finally closed in 1970. Originally formed in 1900 by Clara Barck and five other women graduates of the School of Art Institute of Chicago, the Kalo Shop was incorporated by Barck in 1905. Under her direction it was, as Darling noted in Chicago Metalsmiths, “the city’s most influential concern producing hand wrought silver.” She served as its proprietor, manager, and guiding light until her retirement in 1939, when she moved to San Diego. In 1959, at the age of 91 years old, she gave the business to its remaining four employees.

A New Woman will be the first museum exhibition centered on the Kalo Shop, Clara Barck Welles, and her influence. In conjunction with the exhibition, a commissioned essay by Darcy L. Evon, author of Hand Wrought Arts & Crafts Metalwork and Jewelry, 1890 – 1940, will outline Welles’s role as an artisan-entrepreneur and pioneering businesswoman, making a case for the Kalo Shop as the most important and influential center of American hand wrought silver. Throughout the half-century of Welles’s tenure there, the Kalo Shop established a reputation for design and craft of the highest order, and for furthering the Arts & Crafts ethos in America. As the works in A New Woman demonstrate, Kalo Shop silver embodied the company’s motto, “beautiful, useful, and enduring.” Welles (her married name after 1905) directed all operations, established a school to teach aspiring women artisans and designers, interviewed customers about their commissions, designed many Kalo Shop pieces, and always oversaw the exquisite quality of Kalo Shop production. She supported the individual creativity of her artisans, but insisted on “Kalo Shop” as the sole brand marking. A New Woman will include works from the Kalo Shop itself, along with pieces by artisans such as David and Walter Mulholland, Julius Olaf Randahl, and Lebolt & Company, all whom either worked for Welles, or hired artisans who trained at the Kalo Shop. Together, the works on view will encompass a range of hollowware, flatware, and other pieces, demonstrating the remarkable and distinctive work of American Arts & Crafts silversmiths in the Chicago area during the first half of the 20th century.

At the center of the Kalo Shop was Clara Barck Welles herself, and her activities as an exemplar of the New Woman movement extended well beyond her role and noteworthy success as a woman entrepreneur and business executive. Raised on a farm in Oregon, Clara Barck moved to Chicago in 1898 to study art and design, and spent the rest of her career in Chicago. Recent research by silver scholar and curator Sharon S. Darling has documented Welles’s long record of activism on behalf of women and immigrants, and will be incorporated into the exhibition’s didactic texts and publication. As Darling has noted, Welles was a moving force in the progressive social movements of early 20th century Chicago, a highly active leader of the Women’s Suffrage Movement, and a colleague of other noted social reformers such as Jane Addams of Hull House, a center of immigrant support. Based on her activities as the chair of the publicity committee of the Illinois Equal Suffrage Association, Welles was selected to help lead the Illinois delegation to the 1913 national march for Women’s Suffrage in Washington D.C. on the eve of Woodrow Wilson’s inauguration as president. The following June, Illinois became the first state east of the Mississippi to ratify women’s right to vote. A New Woman – Clara Barck Welles, Inspiration and Influence in Arts & Crafts Silver is made possible at the Jordan Schnitzer Museum of Art through generous donations supporting the museum. The exhibition and its installation design are being planned in collaboration with Marilyn Archer, Curatorial and Design Consultant, and Margo Grant Walsh, Consultant. Above: Clara Barck Welles, holding flag, with members of the Illinois delegation preparing to leave Chicago for the suffrage march in Washington, D.C., in March 1913. Clara designed the bonnet and sash worn by the Illinois women in the suffrage colors of yellow and white. (CHM, Chicago Daily News)

The Kalo Shop, Centerpiece Monogrammed Bowl

A Closer Look: Works on view in our Chinese, Korean and Japanese galleries

Fit to Print

The Dawn of Journalism in Japanese Woodblock Prints from the Lavenberg and Michels Collections On view through July 3, 2022

Virtual Tour of Fit to Print: The Dawn of Journalism in Japanese Woodblock Prints from the Lavenberg and Michels Collections with Anne Rose Kitagawa and Mac Coyle (Asian Studies M.A., 2021) Wednesday, October 6 5:30 p.m. Register now: https://bit.ly/3mfWLVo UTAGAWA Yoshiiku (歌川芳幾, 1833-1904). Japanese; Meiji period, 1874. Family of Thieves, No. 822 of The Tokyo Day-by-Day News (Tōkyō Nichi Nichi Shinbun). Ukiyo-e woodblock-printed “brocade newspaper” (shinbun nishiki-e) in vertical ōban format; ink and color on paper, 14 x 9 1/2 in. The Lavenberg Collection of Japanese Prints

UTAGAWA Kuniyoshi (歌川國芳, 1797-1861). Japanese; Edo period, 1853. Miracles from Masterpieces by Ukiyo Matabei (Ukiyo Matabei meiga kitoku). Ukiyo-e woodblock-printed vertical ōban diptych; ink and color on paper, 14 1/4 x 19 9/16 in. Loan from the Lee & Mary Jean Michels Collection

WANG Qingsong (王庆松, born 1966). Chinese; People’s Republic of China, 2002. Knickknack Peddler. Digital color photograph, 23 1/4 x 78 in. Gift of the Jack and Susy Wadsworth Collection of Contemporary Chinese Photographs

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

Take a Virtual Tour

https://jsma.uoregon.edu/MyriadTreasures

Hyakumantō Darani: Reflections on Eighth-Century Japanese Architecture, Calligraphy and Printmaking Friday, October 22, 2 p.m. Register Now: https://bit.ly/3mhkbJV Akiko Walley (Maude I. Kerns Associate Professor of Japanese Art, Department of History of Art and Architecture) will discuss a 1,250-year-old model pagoda and Buddhist prayer slip ensemble. This acquisition was made possible through collaboration between the College of Design Library, HAA, the museum, and a private donation. Co-sponsored by the Jordan Schnitzer Museum of Art and the Department of Art.

Korean Ceramic Culture

Legacy of Earth and Fire

Take a Virtual Tour: https://jsma.uoregon.edu/exhibitions/koreanceramics OH Chun Hak (吳天鶴 오천학, 1948-2005). Korean; Republic of Korea, 2000. Life of Nature 2000 – II. 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

Tiempo suspendido Suspended Time Myrna Báez and Norma Vila Rivero August 14, 2021 - December 23, 2021 The work of Myrna Báez (Puerto Rican, 1931-2018) and Norma Vila Rivero (Puerto Rican, b. 1982) is a poetic meditation on the relationship between figure and landscape in Puerto Rico, a place where identity and nature are closely connected. Silkscreen and woodcut prints by Báez and new photographs by Vila Rivero present dramatic vistas charged with presence, absence, and memory. Images of stillness and solitude explore the psychological significance of the island’s natural environment and its imprint on the body. Myrna Báez’s atmospheric scenes speak intimately of contemplation and introspection on the threshold of Puerto Rico’s dramatic topography and skies. She charged her images with the spirit and thrust of nature and self-composed individuality, which related to her lifelong advocacy for environmental conservation Norma Vila Rivero (Puerto Rican, b. 1982). The Arecibo Observatory Collapse: an igand self-determination. Windows and other framing devices nominious end to interstellar dreams, 2021. Archival pigment print on Moab Entrada Bright Paper mounted on Styrene, edition 1 of 5 activate an interplay between interior and exterior spaces, reality and projections of the imagination. Báez exalted and reveled in nuances of light and color that convey a specific time of day, mood, and climatic condition. Norma Vila Rivero’s work offers a critical look at the transformation of Puerto Rico’s environment. Inspired by two themes, landscape and absence, she conveys a wake-up call about the effects of economic growth on environmental sustainability and the island’s inhabitants. This selection of new works, from her ongoing research project “A Metaphor Against Oblivion,” records the aftereffects of disproportionate development without long-term planning, and the privatization and subsequent overexploitation of natural resources. This type of development usually prioritizes foreigners over citizens. Working with the metaphor, “the skin of memory,” Vila Rivero stencils onto the backs of family, friends, and colleagues a representation of the absence that lingers in the individual and collective memory of Puerto Ricans. After this, she photographs the person marked by the memory of what no longer exists in the corresponding place, and the image serves as a testimonial or record of the specific event. Tiempo suspendido | Suspended Time celebrates the recent gift of ten silkscreen and woodcut prints by Myrna Báez from the artist’s estate to the Jordan Schnitzer Museum of Art. The museum extends its gratitude to Margarita Fernández Zavala, Dessie Martínez, and Teresa Brigantti Bengochea for facilitating the donation to the JSMA’s collection. New work by Norma Vila Rivero from her series “A Metaphor Against Oblivion” is supported in part by the National Association of Latino Arts and Cultures (NALAC), the Andrew W. Mellon Foundation, the Ford Foundation, Southwest Airlines, and the Surdna Foundation through a grant from the NALAC Fund for the Arts Grant Program.

Representation of Figure and Landscape in Puerto Rico in the Work of Myrna Báez and Norma Vila Rivero November 16, 2 p.m. Join artist Norma Vila Rivero, special guest Dessie Martinez, and Cheryl Hartup, curator of Tiempo suspendido | Suspended Time: Myrna Báez and Norma Vila Rivero, for a discussion of the exhibition and the relationship between figure and landscape in Puerto Rico. Q&A to follow. Register Now: https://bit.ly/39VrgKD

Libby Wadsworth | Always InFormation Artist Project Space | on view through November 7, 2021 Libby Wadsworth (American, b. 1962) began as a painter and expanded her practice to incorporate drawing, letterpress printing, and photography. Working across media, she explores the relationship of text and image. “We use words all the time,” says Wadsworth, “rarely perceiving them as physical, aesthetic objects.” She explores the spaces between categories: seeing and reading, abstraction and representation, the flat and the three-dimensional, the ephemeral and the concrete. Always InFormation presents a selection of works—most of which Wadsworth created during the COVID-19 pandemic. They show how seemingly disparate elements, including letters, words that break apart into other words, still life objects, and landscape elements, can work together to produce, through the active participation of the viewer, meanings in formation. Libby Wadsworth: Always InFormation is made possible by the Hartz FUNd for Contemporary Art. A fully illustrated exhibition catalog with an essay by McCosh Curator Danielle Knapp and an interview between Wadsworth and executive director John Weber will be available later this fall.

EXHIBITION CATALOG Available Fall 2021

Scan the code for a complimentary digital version AVAILABLE NOW

Aleph Earth

Artist Project Space | November 17, 2021 - February 20, 2022

Aleph Earth is a groundbreaking collaboration between the UO’s Artificial Intelligence Creative Practice Research Group (AICP) and Grammy Award-nominated vocal quartet New York Polyphony that merges art, music, and technology. In this 12-minute audiovisual piece, New York Polyphony’s world premiere recording of Spanish Renaissance composer Francisco de Peñalosa’s Lamentationes Jeremiae Feria V (BIS Records, 2019) is paired with imagery generated by an artificial intelligence model that AICP trained to respond to patterns in video of the natural world (including clouds, lava pillars in Iceland, bush fires in Australia, icebergs in Greenland, and Oregon’s Clear Lake) and the complex interplay of the quartet’s voices. Combined, the art and music express both the emotional weight of Lamentationes—a setting of the Prophet Jeremiah’s lamentations on human suffering—and the staggering urgency of our global climate crisis. For more information about this project, visit http://colinives.com/aleph_earth/about-5/

JSMA’s presentation of Aleph Earth is made possible by UO faculty and project partners Colin Ives (Associate Professor, School of Art + Design and Director, AICP) and Craig Phillips (Assistant Professor, School of Music and Dance and Bass, New York Polyphony). Three new works by Ives, AI Still Life: Plant 1, 2, and 3, will be exhibited concurrently with Aleph Earth.

Common Seeing | Meeting Points Focus West Gallery | October 14, 2021 - April 10, 2022

“One of our responsibilities as human people is to find ways to enter into reciprocity with the more-than-human world. We can do it through gratitude, through ceremony, through land stewardship, science, art, and in everyday acts of practical reverence.” ― Robin Wall Kimmerer, Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge, and the Teachings of Plants

Every year, the University of Oregon’s Common Reading program encourages campus-wide engagement with a shared book and related resources. JSMA’s corresponding Common Seeing expands this conversation through the visual arts. The 2021-22 selection, Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge and the Teachings of Plants by Robin Wall Kimmerer, addresses humanity’s responsibility to the natural world through its author’s observations as an enrolled member of the Citizen Potawatomi Nation, academically trained botanist, and mother. Kimmerer calls for a reciprocal relationship between people and nature that prioritizes generosity and respects the needs of all living things. Her memoir’s interwoven topics include ecology, parenting, Indigenous land and water rights, traditional foodways, good citizenship, sustainability, climate change, and the preservation of language. This year’s Common Seeing brings together works by nine contemporary Native artists that speak to these issues and their experiences as individuals and members of their communities. Featured artists include Natalie Ball (American, Black, Modoc and Klamath), Joe Feddersen (Colville Confederated Tribes), Bud Lane (Siletz), Joey Lavadour (Walla Walla/Métis), Brenda Mallory (Cherokee), Lillian Pitt (Warm Springs, Wasco, and Yakama), Gail Tremblay (Mi’kmaq and Onondaga), Kay WalkingStick (Cherokee), and Shirod Younker (Coquille, Coos, and Umpqua). We thank the artists, their galleries, and the Museum of Natural and Cultural History for lending work from their collection.

Brenda Mallory (American, Cherokee, b. 1955). Partitioning, 2017. Collagraph prints on kozo paper, thread, wax, 30 x 95 1/2 x 3 inches. Courtesy of the artist.

The JSMA is located on Kalapuya ilihi, the traditional Indigenous homeland of the Kalapuya people. Following treaties between 1851 and 1855, Kalapuya people were dispossessed of their Indigenous homeland by the United States government and forcibly removed to the Coast Reservation in Western Oregon. Today, Kalapuya descendants are primarily citizens of the Confederated Tribes of Grand Ronde and the Confederated Tribes of Siletz Indians, and they continue to make important contributions to their communities, to the UO, to Oregon, and to the world. In following the Indigenous protocol of acknowledging the original people of the land we occupy, we also extend our respect to the nine federally recognized Indigenous nations of Oregon: the Burns Paiute Tribe, the Confederated Tribes of the Coos, Lower Umpqua and Siuslaw Indians, the Confederated Tribes of the Grand Ronde, the Confederated Tribes of Siletz Indians, the Confederated Tribes of the Umatilla Indian Reservation, the Confederated Tribes of Warm Springs, the Coquille Indian Tribe, the Cow Creek Band of Umpqua Tribe of Indians, and the Klamath Tribes. We express our respect to the many more tribes who have ancestral connections to this territory, as well as to all other displaced Indigenous peoples who call Oregon home.

For more information about the UO’s Common Reading and to find out how members of the UO Community can access a digital copy of Braiding Sweetgrass, visit https://fyp.uoregon.edu/common-reading-2021-2022-braiding-sweetgrass. 13

Salvador Dalí illustrator, printmaker, storyteller MacKinnon Gallery | August 28, 2021 - February 27, 2022 Salvador Dalí (Spanish, 1904-89) remains a fabled central figure of the Surrealist movement, which blossomed in Paris in the early 1930s as a collaborative vision amongst painters, poets, and others intent on exploring untraveled realms of dreams, the unconscious, and serendipitous possibility. Mythologized as a painter of surreal landscapes filled with melting clock, fantastical creatures, and eccentric visions of the human body, Dalí was also a prolific draftsman, printmaker, and illustrator. The Catalan artist contributed watercolors, lithographs, woodcuts, and etchings to celebrated texts; and created his own print series with such diverse themes as ancient mythology, the circus, botany, cooking, cultural satire, and religious histories. Emily Shinn, 2019-20 Curatorial Extern, curated this selection of works from Dalí’s series The Divine Comedy (1963) and The Twelve Tribes of Israel (1972-73). Salvador Dalí (Spanish, 1904-89). Zebulun, from The Twelve Tribes of Israel, 1973. Etching with color pochoir on Arches paper, Edition 59/195, 25 1/2 x 19 1/2 inches. Gift of Dr. Roger and Karen Michalsen

Student Project Spotlight | Audra McNamee The Art the News introduces you to a dozen of the best comics journalists working today. And since comics is the theme, we couldn’t just use any old headshot in the gallery. Meet Audra McNamee, a rising senior, majoring in Math and Computer Science (MACS) with a minor in Comics and Cartoon Studies, who loves to draw. “I approached this project hoping for reference photos with the comics journalists’ heads facing between a 3/4 angle and forwards, ideally with relatively distinct shadows on their faces. The portraits were drawn digitally, with a tablet. I did a pencil-style sketch first, to figure out what lines I would be capturing, and then I inked it, trying to keep most of my lines simple and bold so that they would read well when viewed at a distance. I used a ink-wash type of brush for shading, which I like because it adds texture to digital art, making it so that I don’t have pixel-by-pixel control over the entire piece. The fact that there were so many portraits to draw to some extent made the project easier; if I got stuck on one, I could go work on another and come back later with fresh eyes. I hope that I got decent likenesses—I have to admit that drawing all of these really talented comics journalists felt intimidating every time I thought too hard about it!”

Art is the Prescription Lisa Abia-Smith, JSMA director of education, and Holly Almond, a nurse practitioner at Samaritan Health Cancer Center, work on a painting from an Art Heals workshop. Photo courtesy of Andy Cripe, Mid-Valley Media.

The JSMA’s education department didn’t need a pandemic to know the importance of art to your mental and physical health. In 2019 our 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 last 18 months. 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 over the past year and a half, so did the geographic reach of Art Heals,” says Lisa Abia-Smith, JSMA Director of Education. “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.” And now, with the help of funding from The Coeta and Donald Barker Foundation, that number will continue to increase. The JSMA is launching Art is the Prescription: Community Service and an Emerging National Model, which will allow the Art Heals program to offer at least 32 workshops to serve Latina women from the Linn, Lane, and Benton County region; oncology patients and other patients, physicians and medical staff in Albany, Corvallis, and Eugene; and at our research partner, Oregon Health Sciences University, in Portland.

Art is the Prescription is an innovative program that integrates three principles: art observation and production; mindfulness and reflection; and nutrition counseling, to improve the health and wellness of all participants, including medical care providers and patients. The program uses a workshop format led by Abia-Smith and Hannah Bastian, Museum Educator for Studio Programs and Special Projects (UO Master’s in Arts Administration, Class of 2017), along with professional art educators and physicians, to apply proven techniques and strategies to reduce the heart rate and blood pressure. “Initial data demonstrates that art-based programming consistently produces decreased heart rate metrics,” says Abia-Smith. “The physicians collaborating with the program believe this will be proven to correlate with lower rates of hypertension.” These programs take place within a larger UO initiative focused on advancing research and teaching in arts in healthcare. By partnering with a research faculty member at OHSU and Stephanie Hagerty, the director of Survivorship at Samaritan Health Services in Benton County, Art is the Prescription seeks to scientifically measure the direct impact of our Art Heals programs on professionals, caregivers, and patients. “The timing of this grant opportunity is optimal,” says Abia-Smith. “With expertise in the academic field of Arts and Healthcare firmly in place at the UO, and an established partnership with Samaritan Health Services, we are well-poised to expand the Art is the Prescription program throughout the state.”

ART TEACHES Gives Educators a New Way to Explore Art in the Classroom

This fall, the JSMA is launching our Art Teaches Remote Learning Portal with curriculum designed for students in 4th through 8th grade. Teachers can gain access to learning opportunities that were created with teachers, for teachers. These art-based learning opportunities can be used in the classroom, homeschool, or in a hybrid teaching model. Each focused curriculum can be used in its entirety, or teachers can use a building-block approach, using the video tours, lesson plans and art or writing activities as needed or desired. Also included are ideas for scaling the lessons to younger or older audiences.

Check out Art Teaches: Myriad Treasures https://jsma.uoregon.edu/artteaches-myriadtreasures

Virtual Workshops: Madres Club! Saturdays: Oct 2, Nov 6, Dec 4, Jan 8, Feb 5, March 5, April 2, May 7, Jun 4 10 – 11:30 a.m.

Our program for Latina mothers and their children resumes this fall in a remote setting. Taught by artist Jessica Zapata, this program gives mothers the chance to build community while creating art.

CONTINUING AND VIRTUAL EXHIBITIONS JSMA BLACK LIVES MATTER ARTIST GRANT PROGRAM EXHIBITION: A JORDAN SCHNITZER FAMILY FOUNDATION PROJECT

Take a Virtual Tour https://bit.ly/3AQ4KhT

Extended until November 21

56 Black Men Extended until November 21

Watch artist Cephas Williams introduce the project https://bit.ly/3AaRmE2

I AM MORE THAN WHO YOU SEE Extended until November 21

Take a virtual tour https://bit.ly/3BcLOdk

Morris Graves: On the Surface On view through October 17

View the Graves at Oregon Collection https://bit.ly/3a56yrx

Nkame: A Retrospective of Cuban Printmaker Belkis Ayón Online Only

Take a Virtual Tour https://bit.ly/3a4croX

Northwest Ambience: Frank Okada Online Only

Take a Virtual Tour https://bit.ly/2WFIEQl

V. Maldonado (American, b. 1976). The Fallen, 2018. Acrylic on canvas, 66 1/8 x 114 x 1 5/8 in. This work was acquired with the assistance of The Ford Family Foundation through a special grant program managed by the Oregon Arts Commission; 2019:22.1.

EXHIBITION PREVIEW Many Wests: Artists Shape an American Idea

a collaborative exhibition project between JSMA and four other museums, opens at Boise Art Museum; coming to JSMA next fall. This summer, the Boise Art Museum opened Many Wests: Artists Shape An American Idea, the culmination of a five-year exhibition partnership made possible by the Art Bridges Foundation. JSMA is honored to represent Oregon in this project. For the past several years, McCosh Curator Danielle Knapp has been working with colleagues at the Smithsonian American Art Museum, Boise Art Museum, Utah Museum of Fine Arts, and Whatcom Museum to develop this traveling exhibition and examine “the West” as an historical, social, and cultural concept. E. Carmen Ramos, acting chief curator and curator of Latinx art at the Smithsonian American Art Museum (now chief curatorial and conservation officer at The National Gallery of Art) led the collaborative curatorial effort. Ideas about the American West, both in popular culture and in commonly accepted historical narratives, are often based on a past that never was, and fail to take into account important events that actually occurred. Many Wests: Artists Shape an American Idea examines the perspectives of 48 modern and contemporary artists who offer a broader and more inclusive view of this region. This exhibition, which includes works by Rick Bartow (Mad River Wiyot), Ka’ila Farrell-Smith (Klamath Modoc), V. Maldonado, Rubén Trejo, and Marie Watt (Seneca) from the JSMA’s collection, presents an opportunity to examine previous misconceptions, question racist clichés, and highlight the multiple communities and histories that continue to form this iconic region of the United States. Working in various media, from painting and sculpture to photography and mixed media, the artists featured in the exhibition bring a nuanced and multifaceted history into view. After closing in Boise on February 13, 2022, the exhibition will travel to the other participating venues: the Whatcom Museum in Bellingham (March 19, 2022 to Aug. 21, 2022), the Jordan Schnitzer Museum of Art (Sept. 26, 2022 to Dec. 31, 2022), the Utah Museum of Fine Arts in Salt Lake City (Feb. 4, 2023 to June 11, 2023), and the Smithsonian American Art Museum (July 28, 2023 to Jan. 14, 2024).

DEVELOPMENT NEWS

Member Spotlight:

Kayla Lockwood

Installation view of the exhibition I Am More Than Who You See

I’m also conducting independent research on the topic of Race and Representation: Racial Disparities in Art Education, and I’m a Lead Mentor for Eugene/Springfield high school students participating in this year’s World of Work Internship program. For the future, I’m preparing the materials for this year’s Community Conversation workshops and exhibition. Kayla Lockwood is a Junior currently pursuing a BFA in Art and Technology, a major that combines new media practice and visual art theory, at the University of Oregon, and is also pursuing a minor in Art History. Kayla has worked with the JSMA’s Education team as a Museum Assistant since January 2021 thanks to funding from the Anne Cooling Student Impact Fund. Kayla is also an artist and freelance graphic designer.

Has working at the JSMA influenced your plans for the future? A few years after my undergraduate at UO, I plan to pursue an MFA as I have big dreams of pursuing a career in Higher Education. I want to teach college students to develop creative practices in Creative Code Art and Emerging Technologies.

How has the JSMA impacted your academic experience at the UO? As a student, working at the JSMA has allowed me to apply my prior knowledge beyond the art studio and to be more open to engaging with the public when displaying community-based works.

Working at the JSMA has most definitely influenced my pursuits of this goal by allowing me to develop technical skills in curriculum development, exhibition design, and curatorial practices, all of which are critical for me as I am currently developing an emerging artist collective for Art & Technology students to be involved in.

How are you involved with the JSMA? I saw getting involved with the JSMA as an opportunity to discover career paths within the museum that could be of interest for me to pursue after my undergraduate.

How do you stay connected with the JSMA? I stay connected with the JSMA by working with the museum’s staff and community, but also following the JSMA on social media platforms helped me stay informed of their upcoming exhibitions and programs (especially during the pandemic).

As Museum Assistant, I collaborated with Malik Lovette (M.Arch) in curating the I Am More Than Who You See exhibition that is on view in the JSMA Education Corridor until October 10, 2021. The exhibition is centered around a series of annual Community Conversation workshops held for UO students focusing on identity and misrepresentation.

What’s something you wish all students knew about the JSMA? The JSMA is a great opportunity for students to be more involved within the UO community, providing space and support for student voices to be expressed and heard.

Leadership Council News The JSMA Leadership Council welcomes four new members to the advisory council this fall with deep ties to the University of Oregon: Tyrell Crosby, Jeff “Hawk” Hawkins, Laura Vandenburgh, and Tony Washington, Jr. Tyrell Crosby is an offensive tackle for the Detroit Lions and made his NFL debut against the Seahawks in 2018. He was a student athlete at the University of Oregon from 2014–2017 and participated in the JSMA’s Art of the Athlete program. Jeff “Hawk” Hawkins is Senior Associate Athletic Director of HDC Administration and Operations at the University of Oregon and is involved with Hayward Hall, a 4,000 sq. ft. museum experience situated under the east side of Hayward Field’s stadium that exhibits significant pieces of Historic Hayward Field. Laura Vandenburgh is Associate Dean for Facilities and Student Affairs in the College of Design, Director of the School of Art + Design, a Professor and a practicing artist whose drawing-based work has been exhibited in galleries and museums across the country. Tony Washington, Jr. is the Director of Player Development for Oregon Ducks Football and was a student athlete at the UO from 2010-2014. He participated in the JSMA’s Art of the Athlete program and served as a lead mentor for the World of Work program.

Thank you to all of the JSMA members, donors and friends who participated in Ducks Give on May 13, 2021 and helped raise nearly $9,500 to support student learning and working opportunities at the JSMA, making it the second most successful DucksGive campaign to date! Through the JSMA’s Anne Cooling Student Impact Fund, UO students like Kayla have the opportunity to work and intern at the JSMA to gain professional and academic experience in a variety of museum roles.

Grant Announcement The Coeta and Donald Barker Foundation The JSMA is honored to announce a $50,000 grant from The Coeta and Donald Barker Foundation for Art is the Prescription: Community Service and an Emerging National Model, a two-year Art Heals program and research initiative. With the support of the Coeta and Donald Barker Foundation, the JSMA will advance remote and in-person arts-based health programs in Lane, Linn, and Benton Counties for rural and underserved populations and provide Art is the Prescription workshops for oncology patients and children who suffer from trauma, medical care providers, and for medical students. In partnership with artist Karla Chambers and faculty from Oregon Health & Science University, the JSMA will also deepen a linked research effort that informs these programs and seeks to provide a national model that will strengthen health care services, delivery, and training.

JSMA 2021 Ducks Give Total: $9,045 Total # of gifts: 44 Total # of donors: 42 # of new donors to the JSMA: 15 # of returning donors to the JSMA: 27 Geographic breakdown: Oregon: 33 gifts, California: 5 gifts, Washington: 2 gifts, Arizona: 1 gift, New York: 2 gifts, Connecticut: 1 gift 20

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On July 8, 2021, we opened the Black Lives Matter Artist Grant Program Exhibition, a Jordan Schnitzer Family Foundation Project. Thank you to everyone that joined us for an evening of art, music, and community at the event celebrating the artists who received the UO Black Lives Matter Artist Grant, a joint effort of the JSMA and the Lyllye ReynoldsParker Black Cultural Center. From left to right: John Weber, Aris Hall, Patrick Phillips, and Jordan Schnitzer.

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Grant receipt and printmaker Mika Aono and artist Shawn W. Goddard make an Art is Power print. Aono’s project Printing for Equity is a performative printing project comprised of quotes from civil rights leaders and BLM protest signs.

3-4 Beth Robinson, JSMA Conservator, delivers a poignant land acknowledgement and Dr. Aris Hall from the Lyllye Reynolds-Parker Black Cultural Center shares the importance of this project during the opening remarks. Jordan Schnitzer, Provost Patrick Philips, and John Weber also delivered powerful statements to the crowd. 5-6 Black is Beautiful, a moveable mural by Shawn W. Goddard, framed the UO Memorial Quad during the event. Anne Rose Kitagawa, Chief Curator, chats with a few JSMA members who attended the event. 7

The Schnitzer Gallery of American Art was filled with artists and guests experiencing the exhibition for the first time.

Grant recipients and artists and UO Alum Malik Lovette and Jasmine Jackson hang out in the galleries.

Zoom webinar featuring the artists who have created Sanctuary: A Performance, a live and virtual performance exploring women/queer of color’s collective experiences of seeking refuge from persecution under the ongoing violence of colonization. Jillian Hernandez moderated the conversation with Ana-Maurine Lara, Akiko Hatakeyama, Rosamond S. King, Courtney Desiree Morris, and director D’Lo.

Corvallis artist Anna Fiddler and her daughter Willow view her work that was part of the Eugene Symphony project, Metamorphosis: Visualizing the Music of Paul Hindemith.

11-12 UO Comics Studies professor and guest curator, Katherine Kelp-Stebbins, and associate curator and director of Comics Studies, professor Ben Saunders lead a tour in their new exhibition about comics journalism. The Art of the News is the first major retrospective devoted to this increasingly influential genre of visual narrative. 13

Joey Capadona, Chief Preparator, Katherine Kelp-Stebbins, guest curator, and Kurt Neugebauer, Associate Director, review the model layout of The Art of the News: Comics Journalism.

Clockwise: Susan Mannheimer, Visitor Services, Dawn Davey, Security Officer, Bethanie Nix, Security Administrator, and Elizabeth Renchler, Visitor Services are preparing to open the museum doors for our first public visitors in May. In July 2021, Elizabeth was hired as the newest Museum Security Officer.

John Weber and Thom Sempere look at a recent photography collection gift from Lewis Watts.

Chinese history professor Ina Asim (right) confers with Mellon textile photography interns Christin Newell and Mac Coyle about the symbolism of a historic robe in the collection.

Nonprofit Organization U.S. Postage PAID Eugene, OR Permit No. 63

Jordan Schnitzer Museum of Art 1223 University of Oregon Eugene, OR 97403–1223

The Jordan Schnitzer Museum of Art gratefully acknowledges the sponsor of our Members Magazine.

Mailing address: 1223 University of Oregon Eugene, OR 97403–1223

Street address: 1430 Johnson Lane Eugene, OR 97403

In the heart of the University of Oregon campus

The JSMA Museum Store is now selling gourmet chocolate available in four delicious flavors. These beautifully designed collectible tins feature an iconic piece from our collection. The tins are $9.95 each. For a limited time, JSMA Members will receive a 20% discount at our Museum Store. Stock up now for your holiday gift-giving needs. Ten Symbols of Longevity is an exquisite composition of landscape, floral and animal motifs that reflects a Korean court painting tradition laden with symbolism intended to confer happiness, longevity, and prosperity on both the ruler and nation. In 2010, the JSMA received a generous grant from the Korean National Research Institute of Cultural Heritage to conserve the Ten Symbols of Longevity Screen in Korea, where the Gochang Conservation Institute carefully revived much of its original glory. Later, the beautifully rejuvenated screen was featured in a special exhibition of court paintings at the National Palace Museum in Seoul. [Ten Symbols of Longevity (十長生圖, 십장생도, Shipjangsaengdo). Joseon dynasty, 1879-80/ Ten-panel folding screen; ink, color and gold silk. 79 x 203 1/8 inches (full screen). Murray Warner Collection.]

Phone: 541-346-3027 Fax: 541-346-0976 Website: http://jsma.uoregon.edu

Hours Wednesday: 11 a.m. - 8 p.m. Thursday – Sunday: 11 a.m. – 5 p.m. Academic visits by appointment

Cover Image: Joe Sacco, Page 12 (detail) from “The Fixer” (2009 [2003])

An equal-opportunity, affirmative-action institution committed to cultural diversity and compliance with the Americans with Disabilities Act. This publication will be made available in accessible formats upon request. Accommodations for people with disabilities will be provided if requested in advance by calling 541-346-3213.