JSMA WINTER 2021 by jsmauo

WINT ER 2021

JORDAN SCHNITZER MUSEUM OF ART

Experience our new 360-degree virtual tour! Each JSMA virtual tour allows you to stroll through the museum at your own pace, using the circle icons on the floor to navigate from location to location. You can zoom in on individual artworks, read object labels and descriptive texts by clicking on the small icons next to each work, and also access informational links, and exhibition brochures or study guides. You can also make your internet browser window larger or smaller as desired—and we recommend expanding it to full screen to take advantage of the tours’ high resolution, 360-degree photos!

Hallie Ford Fellows in the Visual Arts Prince Lucien Campbell Memorial Courtyard featuring art by Hallie Ford Fellow, Demian DinéYazhi’ Nuestra Imagen Actual | Our Present Image: Mexico and the Graphic Arts 1929-1956

More tours coming soon! Find them all at

jsma.uoregon.edu/virtualtours

JSMA virtual tours are made possible with the support of the Art Bridges foundation and our members. 2

DIRECTOR’S REPORT | WINTER 2021 Dear JSMA Members and Friends, Yes, the JSMA closed again, together with museums around the country. This has been a long haul, and we’re not done yet. As we reach the press deadline for this issue of the JSMA magazine, the new COVID19 vaccine is here, but only available to medical workers and teachers on the front lines. We’ll wait to see how long it takes to reach a larger segment of the Oregon population, and when Lane County emerges from the current Extreme Risk category. For now, our doors may be shut, but our hopes for reopening the museum this spring or in the summer look brighter. The prospect of national leadership solidly grounded in health science represents a welcome change. And the development of more than one viable vaccine dramatically increases the chance of returning at some point to a new normal where museum visitation can again become a regular part of life. But we really don’t know just when that will arrive, and even what form it will take.

Pandemic or not, we will continue documenting all of our exhibitions and gallery rotations using this technology. After we reopen, JSMA virtual tours will serve as superb pre- and post-visit learning resources for students of all grade levels on and off campus. They will provide members and visitors a great way to take a second look at shows you loved, sharing them with friends and family far and wide. With embedded information and links to more information, these tours enable art learning and encourage endless browsing and relooking. You can wander at your own pace and volition through a show, pause where you want, zoom in on artworks for a closer look, and read the “extended labels” (as we call the short texts attached to the ID label) as desired.

E VENTS

“Dollhouse view” of the new Soreng Gallery virtual tour available on the JSMA website

In the meantime, I’m thrilled by the December launch of our new 360-degree virtual tours of JSMA galleries and shows. I have been a huge fan of this technology for years, long before the pandemic. High-resolution, 360-degree photographs offer a palpable experience of what it feels like to be in a museum, dramatically conveying the size and placement of artworks and the spatial sense of the gallery in a visceral way that other photography never achieves. Artists make the art, but museums make the exhibitions— arguably our principle intellectual product and contribution to art historical discourse—and zoomable, 360-degree photographs represent the tangible experience of exhibitions better than anything else. Initially we launched tours of our two main fall/winter special exhibitions, the Hallie Ford Fellows show in the Barker Gallery, and Nuestra imagen actuel / Our Present Image: Mexico and the Graphic Arts 1929-1956. By the time you have this magazine in your hands, we’ll have other galleries available for online viewing.

Installation work in progress for Nkame: A Retrospective of Cuban Printmaker Belkis Ayón

Since we won’t likely be open for a while yet, the Belkis Ayón show in the Barker Gallery will be a great way to try out the JSMA virtual tour experience this winter and spring. It brings monumental scale prints by an internationally renowned Cuban printmaker to Eugene and the UO, and it is one of the shows I’m most looking forward to in 2021. Writing about Ayón’s work in The New York Times in 2017, critic Holland Cotter cited her “staggering virtuosity” as a printmaker, and these are gorgeous, brooding, mysterious images. Often joining multiple collograph prints to make one large picture, Ayón explored the imagery and traditions of Cuba’s Abakuá secret society. Happily, we have two of her works in our collection, but nothing like the immense, installation-scale pieces that will come with her solo show. You can read more about the show elsewhere in this issue, and I thank Cheryl Hartup, our curator of Latin and Caribbean art, for organizing its presence here. In the Focus Gallery, we’re showing an amazing new piece by Hank Willis Thomas on loan from Jordan Schnitzer, for our Common Reading/Common Seeing show. Called An All Colored Cast, it’s an exuberantly colorful, immense (more than fifteen feet wide), biting, fascinating work that is about Hollywood, the entertainment industry, race, and racism. It’s also about Pop Art and Andy Warhol, “color theory,” minimalism, the inability to see anything clearly from a single point of view, and much more. Straightforward and almost bluntly charismatic at first glance, An All Colored Cast richly rewards further thought and sustained reflection. And as you think about Thomas’s piece, I suggest reading or re-reading The Devil Finds Work, James Baldwin’s 1976 book-length essay on race and the American film industry. For the same show, Jordan has also loaned us Alison Saar’s Sorrow’s Kitchen, an evocative new sculpture, and a set of new prints by Saar. You can read more about them elsewhere in the magazine. Thank you, Jordan! I’m also looking forward to our collaboration with the Eugene Symphony around the works of the composer Paul Hindemith. Organized for the JSMA by our Northwest art curator Danielle Knapp, who also curated the Common Seeing show, it brings works by four contemporary Oregon artists to the Schnitzer Gallery. One of the

artists in the show, Mika Aono, did a terrific virtual studio tour with us last year and discussed the work she did for the show. We have had an amazing run of works on view recently through our Shared Visions program, and since you may not be able to see them in person for a while, I want to direct you (again) to the extensive online slideshow we have been producing to feature works in the series. It includes installation views, high resolution images of the works themselves, photos of many of the artists (often seen in the studio), bio information, and curated links to videos of artists talking about their work. You can find this information on our website in the dropdown menu under the Explore Art section; just click on “Shared Visions,” or go directly to jsma.uoregon.edu/sharedvisions. We update the slide show approximately every three months, too, so if you saw the show in the summer, it’s time to take a look again! My thanks to Dr. Aris Hall of the Lyllye Reynolds-Parker Black Cultural Center for working with the JSMA on the Black Lives Matter Artist Grant Program sponsored by the The Harold & Arlene Schnitzer CARE Foundation and the Jordan Schnitzer Family Foundation. I also offer our joint thanks to the excellent, thoughtful grant panelists we worked with: Dean Sabrina Madison-Cannon of the School of Music and Dance; Jamar Bean, Program Advisor and Director of the UO Multicultural Center; and Asst. Prof. Jovencio de la Paz of the Department of Art. We made selections in November, and you can read more about the grant and find a list of the award winners on page 4 of the magazine. Before signing off, I want to say a big thanks to all of our members who renewed your membership in 2020 and the first weeks of 2021, and to our Leadership Council and Patron Circle members for your continued support of the JSMA. We can’t make it without you, and we can’t wait to see you in person again! Keep staying safe, spring is coming, John

Works by Gabriel Barrera, Anthony Lewis, Naomi Meyer, and Mo Wo

With the support of the Jordan Schnitzer Family Foundation, the JSMAs of UO, Portland State University, and Washington State University selected sixty artists from across Oregon and Washington to receive $2,500 each for their work in support of Black Lives Matter. At the UO, the JSMA worked with the Lyllye Reynolds-Parker Black Cultural Center and their Coordinator Dr. Aris Hall to assemble a selection panel and oversee the program. The museum and the BCC congratulate the grant winners and thank the grant selection jury, including Dean Sabrina Madison-Cannon of the School of Music and Dance; Jamar Bean, Program Advisor and Director of the UO Multicultural Center; and Asst. Prof. Jovencio de la Paz of the Department of Art, who worked with Dr. Hall and JSMA director John Weber to make final selections. The JSMA and the BCC look forward to showing work from the grantees in 2021.

Jurors’ Statement

Jasmine Jackson | Eugene/Beaverton

BLACK LIVES MATTER G R A N T S AWA R D E D !

“We congratulate the Black Lives Matter Artist Grant Program grantees and thank all the applicants for their creativity and their commitment. In selecting the artists for the grant, we particularly sought out younger and emerging artists for whom the grant could make a real difference. We also paid close attention to artists’ connections to the Black Lives Matter movement, and we sought to support a wide range of artistic practices. We encourage our community to support these artists and other artists from marginalized communities who are confronting systemic racism and the legacy of white supremacy. Our selection includes artists working in traditional media such as drawing, painting, photography, sculpture, and printmaking, and also video, performance works, community projects and collaborations between artists. Our committee had a difficult job, as so many worthy submissions were received. For artists who were not selected, we thank you for your efforts and encourage you to keep making art and working for racial justice.“ 4

Belkis Ayón (Cuban, 1967-1999), La cena (The Supper), 1991. Collograph. 54 x 118 inches. Courtesy of the Estate of Belkis Ayón

The JSMA is pleased to host Nkame, a solo exhibition dedicated to the work of the late Cuban printmaker Belkis Ayón (1967-1999), who produced an extraordinary body of work central to the history of contemporary printmaking in Cuba and abroad during her short but fertile career. The travelling exhibition has received critical praise since its premier in the United States in 2016. In 2017, ArtNews Magazine named it one of the “Top Ten Exhibitions in the World” and The New York Times named it one of the “Top Ten Exhibitions in New York City.”

According to the curator of the exhibition, Cristina Vives, a Cubanbased independent researcher and art critic, “Ayón’s masterful collographs gave the Abakuá legend, which has been transmitted orally, a powerful iconography it did not previously have. But it must be said that her intention was not to perpetuate the myth, but rather to transgress it. Ayón’s treatment of the myth requires sharp, active, and critical engagement by the viewer. Unfortunately, during her short life, her work was not always afforded such rigorous understanding.”

The exhibition presents forty-eight prints and audiovisual materials that encompass a wide range of the artist’s graphic production from 1986 until her untimely passing in 1999. Ayón mined the founding narrative of the Afro-Cuban all-male fraternal society, called Abakuá Secret Society, to create an independent and powerful visual iconography. She is highly regarded for her signature technique of collography, a printing process in which a variety of materials are collaged onto a cardboard matrix and run through a press. Her deliberately austere palette of subtle black, white, and gray, adds drama and mystery to her works, many of which were produced at a large scale by joining multiple printed sheets.

The Abakuá brotherhood arrived in the western port cities of Cuba in the early nineteenth century, carried by enslaved Africans from the Cross River region of southeastern Nigeria, and since then became a nucleus of protection and resistance for its members. A brief synopsis of the founding myth of Abakuá begins with Sikán, a princess who inadvertently trapped a fish while drawing water from the river. She was the first to hear the unexpected and loud bellowing of the fish, the mystical “voice” of Abakuá. Because women were not permitted this sacred knowledge, the local diviner swore Sikán to secrecy. Sikán, however, revealed her secret to her fiancé and because of her indiscretion was condemned to death. In Ayón’s

NKAME A Retrospective of Cuban Printmaker

Belkis Ayón Barker Gallery | February 6 – May 2, 2021

work, Sikán remains alive, and her story and representation figure prominently. Curator Cristina Vives states,

“Nkame is not simply an homage to Belkis Ayón, but a possibility to dialogue with her work in quest of that affirming message of life and future that humanity needs.” The exhibition catalogue, Behind the Veil of a Myth, written by Cristina Vives and edited by the Estate of Belkis Ayón, The Station Museum of Contemporary Art, Houston, and the Estudio Figueroa-Vives in Havana, is available for purchase from the JSMA’s store. Nkame: A Retrospective of Cuban Printmaker Belkis Ayón is curated by Cristina Vives and organized by the Belkis Ayón Estate, Havana, Cuba, with the Jordan Schnitzer Museum of Art. Exhibition tour management by Landau Traveling Exhibition, Los Angeles, CA. Belkis Ayón (Cuban, 1967-1999), Resurrección (Resurrection), 1998. Collograph. 103 ½ x 83 ½ inches Courtesy of the Estate of Belkis Ayón

Hank Willis Thomas (American, b. 1976). An All Colored Cast (activated by external light source), 2019. UV print on retroreflective vinyl, mounted on Dibond, overall dimensions: 98 x 182 1/4 inches. Collection of the Jordan Schnitzer Family Foundation

Common Seeing:

LOOK. Listen. Learn. Act. Focus West Gallery | January 9 – June 14, 2021

Since 2016, the JSMA has responded to the UO’s annual Common Reading—campus-wide programming around a shared book and its themes—with a “Common Seeing” exhibition that explores and expands on these topics through visual art. The University’s Listen. Learn. Act. initiative for 2020-21 expands on the Common Reading format to incorporate different bodies of work across multiple platforms, focusing on Blackness, Black experience, and dismantling racism. We encourage you to access additional resources at https://ftp.uoregon.edu/common-reading-2020-2021, and to engage with the artwork on view at the JSMA and in our virtual offerings that speaks to the lived experiences of Black people and themes of social justice and anti-racist activism.

An All Colored Cast references Andy Warhol’s Ethel Scull 36 Times (1963) with a color-blocked grid of 36 headshots of Black actors and musicians and other performers of color. Thomas used a layer of retroreflective vinyl to obscure his subjects, including Hattie McDaniel and Sidney Poitier, under bold colors. The portraits only become fully visible when filtered light is applied. An All Colored Cast is both a commentary on Hollywood’s failings, including its lack of representation and perpetuation of stereotypes, and a call to viewers and consumers of the entertainment industry to do the work of revealing what is hidden. Additional works that speak to the themes of the Common Seeing will be on view in the JSMA’s Shared Visions program throughout winter and spring terms.

The JSMA’s annual “Common Seeing” features works by by Hank Willis Thomas and Alison Saar from the collection of Jordan D. Schnitzer and works by Lezley Saar and Kara Walker from the JSMA’s permanent collection. The loans are generously made possible by the Jordan Schnitzer Family Foundation. Thomas’s massive

At JSMA we believe museums have a responsibility to educate and teach from an anti-racist and equity lens through our exhibitions and education programs, and not remain neutral in the fight to eliminate racism. When words are not enough, art can move people to change.

METAMORPHOSIS Visualizing the Music of Paul Hindemith Featuring Mika Aono, Anna Fidler, Andrew Myers, and Julia Oldham Schnitzer Gallery of American and Regional Art March 6 – June 14, 2021 The JSMA and Eugene Symphony Association celebrate an innovative collaboration with four Oregon visual artists in response to Paul Hindemith (1895-1963)’s orchestral masterpiece Symphonic Metamorphosis on Themes of Weber. In 2019, Symphony Music Director and Conductor Francesco Lecce-Chong partnered with visual artists Mika Aono, Anna Fidler, Andrew Myers, and Julia Oldham to explore the creative potential of Hindemith’s most popular work. The four movements that comprise Symphonic Metamorphosis informed new works in printmaking, painting, drawing, and animation. The COVID-19 pandemic disrupted the Eugene Symphony’s original plan for a performance of Symphonic Metamorphosis at the Hult Center for the Performing Arts last spring (at a future time, concert details will be made available at eugenesymphony.org) and delayed JSMA’s exhibition for nearly a year, but the ways that music and art bring us closer together have never been more evident nor more inspiring than in this challenging time. Metamorphosis and related programs at JSMA were made possible in partnership with Eugene Symphony Association and with funding from an Exhibition and Documentation Support Grant from The Ford Family Foundation and the museum’s Hartz FUNd for Contemporary Art. The exhibition was organized by McCosh Curator Danielle Knapp with project assistance from JSMA design services manager Mike Bragg and curatorial intern Zoey Kambour, an M.A. student in the Department of History of Art and Architecture. Mika Aono arranges components of her work Forest Drawn in the UO Printmaking Studio. Julia Oldham and Francesco Lecce-Chong discuss Julia’s animations for Movement 4: Marsch. Danielle Knapp, Anna Fidler, and Francesco Lecco-Chong review Anna’s paintings in her Corvallis studio.

Korean Ceramic Culture Legacy of Earth and Fire On view through May 8, 2022 As a teaching museum, the JSMA is dedicated to helping students develop meaningful, life-long connections with art. In addition to regular museum visits and classes, we periodically receive grants that allow us to host scholars with a deeper research focus. In Fall 2019, Bokyoung Hong, a specialist in Korean ceramics, came to the JSMA for a 10-month Korea Foundation Global Challengers internship. One of a handful of young scholars sent abroad by the Korean government, Hong spent six months researching the JSMA collection to plan the exhibition Korean Ceramic Culture: Legacy of Earth and Fire. A highlight of her work was the opportunity it afforded to study Korean celadon ceramics, regarded even by early Chinese connoisseurs as “first under heaven.” Characterized by naturalistic shapes, incised, carved, or inlaid decoration, and luminous light bluish-green glazes, Korean celadons of the Goryeo dynasty (918-1392) are celebrated as the pinnacle of elegance and sophistication. Korean potters took inspiration from northern Chinese celadon glazes but refined their techniques and materials from the ninth through the twelfth centuries. One new technique they developed was inlaid decoration, in which white or black slip (diluted clay) was used to fill indentations carved into the surface of the ceramic body before it was covered with glaze. After firing, the slip created underglaze pictorial designs. In addition to a more typical Korean inlaid celadon, a remarkably rare and important example is the late twelfth-century Conical Bowl with Stylized Floral Arabesque Design; its interior decoration employs the most coveted “reverse-inlay” technique, in which the ground around the swirling, cloud-like leaves (rather than the leaves themselves) was carefully inlaid. A strikingly similar bowl in the National Museum of Korea is designated as National Treasure No. 115. A number of works in the exhibition were donated by local collector Kyungsook Cho Gregor, who over the last 35 years has gifted over 200 Korean objects to the museum, including 18 unglazed earthenware and stoneware vessels and rooftiles dating from the Three Kingdoms (57 BCE-935 CE) and Unified Silla (668-918) periods. Gregor and her husband also donated a series of photographs by KIM Geun Won (1922-2000), some of which are featured in the exhibition. A stunning contemporary celadon Bottle from the Gregors’ collection was created by SHIN Sang-ho (born 1947), former Dean of the College of Fine Arts at Hongik University in Seoul. With its dramatic silhouette, lacy craquelure, and graceful inlaid crane, this exquisite vessel both pays homage to and updates the Goryeo celadon tradition. The Gregors are graciously donating it in memory of two women who embodied grace and fearless determination: author Chee Shik Shin (a cousin of the artist) and Gregor’s niece, Hai Soon Cho.

Top: SHIN Sang ho (born 1947). Round Bottle with Slender Flaring Neck and Flying Crane Decoration. Korean; Republican period, circa 1973. Inlaid celadon ware: light gray stoneware with celadon glaze over decoration inlaid in white slip, 11 x 8 inches. Gift of John and Kyungsook Cho Gregor in memory of Chee Shik Shin and Hai Soon Cho. Bottom: Conical Bowl with Stylized Floral Arabesque Design. Korean; Goryeo dynasty, late 12th century. Light gray stoneware with celadon glaze over decoration inlaid in black and white slips, 2 3/4 x 6 5/8 inches. Murray Warner Collection.

A Woman’s Worth Hung LIU (LIU Hung, Chinese, born 1948). Famine Leftover, 2012. Mixed media, 41 x 41 inches. Gift of Artist Hung Liu and Trillium Graphics/David Salgado, 2018:25.18

New Hung LIU exhibition opens next year Next year, the JSMA will feature powerful mixed-media works by renowned contemporary Chinese-born American artist Hung Liu, whose deftly combined portrait, landscape, and still life compositions reflect upon history, memory, migration, and social justice. Characterized by layers of luminous color, drips, and circles, Liu focuses with insight and compassion on the poor, the afflicted, and the displaced, elevating and imbuing them with dignity and individuality. Liu came of age during a tumultuous period of Chinese history. Sent to the countryside for proletarian re-education during the Cultural Revolution (1966-76), she later emigrated to the U.S. to study art and went on to become a distinguished artist and educator. Raised at a time when photographs were routinely destroyed for political reasons, she came to view historic images as precious keepsakes and now uses them as inspiration. Filmy washes lend her art a poetic, almost dreamlike quality—the antithesis of the rigorous Socialist Realist style she was required to use in China. In 2003, Liu began collaborating with Trillium Graphics’ master printer David Salgado to create hybrid works combining aspects of painting and printmaking. The result was an exciting new body of mixed-media works. After 15 years creating evermore ambitious art in this vein, Liu and Salgado donated 55 such objects to the JSMA. Although Salgado passed away soon thereafter, their combined creativity and largesse are commemorated in this legacy collection, which we will celebrate with this special exhibition.

Le Corbusier (Swiss-French, 1887-1965). Woman on the Beach, ca. 1930s. Oil on canvas. 15 x 24 inches. Widmer Fund Purchase

MacKinnon Gallery | January 6, 2020 – Spring 2021 Inspired by the Feminist Art Coalition’s mission to promote feminist art histories “as a catalyst for discourse and civic engagement” during the 2020 election season and beyond, this exhibition considers the representation of women by male artists from the Renaissance through the twentieth century. Paintings and prints from the JSMA’s permanent collection explore archetypal ideals of feminine virtues, the objectification of the female form, and woman as model and muse. Through the lens of feminist theory, the exhibition reflects on the social and aesthetic values assigned to women when represented as symbolic vessels, anonymous beauties, or passive bodies to be manipulated and viewed by male artists and a patriarchal culture.

SHARED VISIONS SPOTLIGHT

“I transform hate into love. That’s what makes me tick.” —Louise Bourgeois

Louise Bourgeois (FrenchAmerican, 1911-2010). The Eternal Thread Is You, 2003. Fabric, thread, glass, white oak, and stainless steel. 42 1/4 x 18 x 14 inches; vitrine: 77 1/2 x 42 x 34 inches. Private Collection Los Angeles

Louise Bourgeois | The Eternal Thread Is You February 24 - May 30, 2021 Louise Bourgeoise established herself as one of the most conceptually inventive and materially diverse artists of the twentieth century over an eighty-year career influenced by childhood anguish and the upheaval of two world wars. Bourgeois acquired her first artistic skills—drawing and sewing—working in her parents’ tapestry restoration shop in Paris. After immigrating to the United States in 1938, she embraced painting, multi-media sculpture, and printmaking in striking explorations of trauma, family, and memory, sexuality, the human body, and feminine identity. The Eternal Thread Is You is a superb example of her multifaceted career, expanding on images of confined domesticity from the 1940s and the fabric sculptures and found-object Cell installations she began in the 1990s. The work also speaks to Bourgeois’ artistic roots and cherished relationship with her mother, a weaver and seamstress who died when the artist was just twenty-two. Within her wood and glass vitrine, a hand-sewn female figure kneels with a glass sphere cradled to her womb, encircled by twelve spools of thread that represent the hourly positions of a clock, the stagnation and passing of time. Moving through successive shades of blue, the thread further expresses Bourgeois’ use of her practice to connect with, reflect on, and transition through her life experiences. As she remarked: “Blue represents peace, meditation, and escape.”

NEW

ACQUISITIONS

Left to right: Natalie Ball (American, Klamath/Modoc, born 1980). Mama Bear III, ed. 11/18, published 2020. Five-color lithograph with archival inkjet chine-collé, on Somerset satin white (made with collaborating printer Judith Baumann at Crow’s Shadow Institute of the Arts), 29 x 36 inches. Museum purchase through the Hartz FUNd for Contemporary Art Natalie Ball (American, Klamath/Modoc, born 1980). Mama Bear IV, ed. 11/18, published 2020. Five-color lithograph with archival inkjet chine-collé, on Somerset satin white (made with collaborating printer Judith Baumann at Crow’s Shadow Institute of the Arts), 32-1/2 x 23 inches. Museum purchase through the Hartz FUNd for Contemporary Art

Lithographs by Natalie Ball Natalie Ball (American, Black, Modoc and Klamath, born 1980) is a multidisciplinary installation artist who lives and works on her ancestral homelands in Chiloquin, Oregon. Before earning her MFA in Painting and Printmaking at the Yale School of Art (2018) and an MA in Māori Visual Arts at Massey University in New Zealand (2010), Ball completed her Bachelor’s degree with a double major in Ethnic Studies and Art at the University of Oregon (2005). JSMA has purchased Mama Bear III and Mama Bear IV, a pair of lithographs with chine-collé elements, as the first examples of Ball’s powerful body of work to enter the museum’s permanent collection. During Ball’s Golden Spot Residency at Crow’s Shadow Institute of the Arts in November 2019, she worked with master printer Judith Baumann to realize her vision for prints in the Mama Bear series. On paper, Ball engaged the concerns, imagery, personal and cultural history, and the textual-visual language that make her three-dimensional work so effective in challenging the reductive narratives around indigenous identity and her own heritage as a Native and Black woman. Among Ball’s many recent honors are the 2018 Betty Bowen Award from the Seattle Art Museum, a 2020 Hallie Ford Fellowship in the Visual Arts, and a 2020 Joan Mitchell Foundation Painters & Sculptors Grant.

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Installation in Progress: Meet the JSMA Prep Crew

You see their work each time you visit—lighting, casework, furniture design, framing. Some of their best work—mounts and forms that are custom designed for each work of art—often go unseen. Museum visitors benefit from the experience of a visually rich gallery, likely unaware of the hours of skilled and creative work that goes into each JSMA exhibition. But it’s all in a day’s work for the JSMA Prep crew, a bustling team of staff and students led by Head Preparator Joey Capadona. This crew makes the museum look good. Real good.

TOP ROW: Head Preparator Joey Capadona Joey Capadona: Joey, the captain of this tight ship of talented and skilled crew, designs an upcoming exhibition, fabricates a mount, form or an invisible mannequin. The JSMA’s Head Preparator has an art degree and is a sculpture artist. He came to us with over 16 years’ experience from the Ulrich Museum of Art. And if you can get an invite, you’ll want to enjoy his culinary skills! BOTTOM ROW: Beth Robinson-Hartpence: Down in the museum basement you might find Beth creating a robe form or repairing a torn hinge on a Japanese Ukiyo-e print that is being readied to frame. She is a practicing artist, a paper conservator, and holds a master’s degree in conflict resolution. She also devotes time to supporting animal rescue services. Mark O’Harra: Over in the construction shop, Mark is building custom display furniture for the Belkis Ayón exhibition. He has over 24 years of fine craft carpentry experience; outside the museum he enjoys sailing and mountain biking. Noah Greene: You’ll find Noah and Anthony, with assistance of temp preparators Sam Wrigglesworth and Michael White, preparing the gantry, a movable structure with supporting equipment to lift heavy oversized art. Noah has his MFA from UC Davis and continues doing his art along with his preparator work. He’s currently building a wood-fired sauna on his property. Anthony Edwards: When Anthony isn’t working with the JSMA prep team, he is teaching acting and improv classes.

RESIST COVID | TAKE 6! 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, is organizing local installations of RESIST COVID | TAKE 6!, a public art campaign by nationally renowned, Oregon-born artist Carrie Mae Weems.

See our list of community partners and learn how to participate:

In RESIST COVID | TAKE 6!, 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! brings awareness to the greater impact of the COVID19 pandemic on Black, brown, and Indigenous communities. This multilingual project delivers hope, no-nonsense practical advice to stop the spread, and encourages getting the vaccine.

https://jsma.uoregon.edu/ResistCovid

DEVELOPMENT NEWS

Member Spotlight:

Ashley Espinoza What surprised you about the museum? What surprised me the most is the accessibility and the wide range of offerings. Eugene and Lane County aren’t necessarily the most culturally diverse places in the world, so to have such a treasure in our community that offers world-class exhibits from past to present that include so many different cultures, viewpoints, and expressions is a real treat.

Ashley Espinoza is the Sector Strategy Director at Lane Workforce Partnership, the Workforce Board of Lane County. She is a current JSMA Leadership Council member and serves on a broad range of local and state-wide boards.

When did you first become interested in the arts? If I think about it, I’ve been exposed and have enjoyed the arts from a young age—even if I wasn’t aware of it or fully appreciated it until now that I am older. My family would travel to Mazatlán, Mexico, every other year growing up and I remember visiting the Teatro Angela Peralta and attending some beautiful shows there. Even walking down the Malecon on evenings admiring the amazing visual artists that paint stunning tropical sceneries with just their fingertips and oil paints before your eyes, surrounded by a crowd of admirers. As I reflect, I have been fortunate enough to be exposed to a wide range of art and artists, either by music, dance, or visual arts. I look forward to continue to grow my interest and understanding of arts and those that create it and the ways that they enrich our community. Why did you become involved at the JSMA? A few years back, Cheryl Hartup, Curator of Academic Programs and Latin American & Caribbean Art, began attending monthly meetings of Latino Professionals Connect and invited me to come and tour the museum. Needless to say, I completely fell in love. Although I had grown up in the area, I had never known about the art museum. Since then, we’ve partnered on a few events and support each other whenever we can. It has been such a rewarding partnership.

How have you experienced the museum virtually? At our last Leadership Council meeting we were given a tour of the virtual slideshow that staff has worked hard in putting together to adapt to these times. These slideshows offer high resolution images and are the next best thing for viewers to experience the museum. Their workshops have also transitioned to virtual, which although not ideal does make it more accessible for people to attend and participate. I have been extremely impressed with how JSMA staff and partners have made it so easy and safe for people to continue to be involved and exposed to the museum and all of its assets. What is something you look forward to once the museum is open again? I look forward to participating in more events, celebrations, and workshops! The only event that I’ve attended was the Dia de Los Muertos event, which was a free celebration open to the community and it featured dancing, poetry, live music, traditional Mexican ofrendas, ceramics, prints, and paintings by artists from Mexico, and art activities for all ages. It was a super fun event and after being on lockdown I won’t ever take these community and culture building activities for granted again. Have you tried anything new in 2020? I haven’t tried it yet, but I look forward to trying the Madres Club on Saturdays via Zoom. It is a Spanish art class where mothers do different art projects and the supplies are even provided by the museum, which is incredible! Your children are encouraged to join as well. Why is art important? That is a big question. Through my work at Lane Workforce Partnership, the workforce board of Lane County, I am learning more and more about the importance of the arts and those that create it. In 2019, we launched in partnership with Lane Arts Council and ArtCity, a Creative Sector Strategy initiative modeled after our other sector work and wow, have I learned a lot! Creativity is the seed of innovation and is essential to high wage and high demand industries that rely on creative thinkers to build solutions to business and community problems. Many industries including—design, branding, media, city planning, manufacturing, and architecture—

rely on the skills, knowledge, and innovative thinking of artists. Art also makes life more tolerable and enjoyable— art is beautiful and we are all better because of our experiences with it and exposure to it. What other organizations are you active with? I am involved with many organizations. As I mentioned before, I work for the workforce board as their Sector Strategy Director. I also am a Commissioner for the Commission on Hispanic Affairs, an Advocacy Commission appointed by the Governor’s office. I serve on the Board of Directors for Food for Lane County, the Lane County Poverty and Homelessness Board, and the Leadership Council for the Oregon Community Foundation. Since 2016, I have coordinated and led Latino Professionals Connect, which has been one of my greatest joys and accomplishments of my career. Why should people get involved with the JSMA? I think people should get involved with JSMA because they can! The museum has something for everyone and the staff and volunteers are so warm and passionate about what they do. They offer dynamic and enriching educational programs, and if we want to continue to have these types of things for our community we need to visit, support and share. Why do you wear a mask? I wear a mask to reduce the risk of unknowingly spreading infection. It is estimated that 50% of transmission happens before people develop any symptoms, and I just couldn’t live with myself if I knew that I unknowingly but carelessly was spreading anything. I also want to see us go back to being in person and around community. Small businesses are suffering and the sooner we can all be responsible the sooner we can all get on the other side of this. What do you think the JSMA brings to the community? JSMA is a place where rich learning and discovery happens. It is a community resource and asset that not all people know about, but it is here for all of us to enjoy. JSMA works hard to bring world-class art for us to appreciate, identify with, and learn from. It is a gorgeous building, filled with dedicated and knowledgeable staff and volunteers that believe in the magic and importance of art.

Barry Lopez In December, our community lost a literary legend. With his words, Barry Lopez created a foundation of literature that engaged environmental concerns and humanitarian issues. JSMA was honored to host a conversation between Barry and his close friend, the late artist Rick Bartow, on the occasion of Rick’s retrospective, Things You Know But Cannot Explain, in 2015. We invite you to enjoy this program at: https://www.youtube.com/watch?v=YCQEkj4Csi4&t=123s

DEVELOPMENT NEWS

Leadership Council News The JSMA is honored to have Ellen Tykeson serving as President of the Leadership Council during this time of tremendous change and challenge. Together with Vice-President Sarah Finlay and Executive Director John Weber, Ellen has led the Council’s efforts to adapt its structure and welcome key new members at this critical moment. We welcome five new members to the Council and thank them for their dedication: Patti Barkin, an Exhibition Interpreter, museum supporter, and retired UO School of Education research scholar; Lesley-Anne Pittard, UO Assistant Vice President for Campus and Community Engagement; former Council members and avid collectors and supporters David Hilton and Lee Michels, and UO graduate student John Schwartz. The Leadership Council is also pleased to announce two new committees and a working group to better serve the JSMA’s key programs and activities in education, communications, and academic engagement. The Education Committee, chaired by Exhibition Interpreter Patti Barkin, was created to help advance and advise the museum’s robust education programs and attract key partners in education, arts, and healthcare. "As an Exhibition Interpreter for over a decade, leading School Tours has enriched my life! I'm honored to serve as chair of this new and important committee. All of the JSMA's Educational Programs are such a great link to the larger community." —Patti Barkin "I am delighted that this Education Committee has come to fruition. Each of the members brings a remarkable and diverse skillset which will help strengthen the museum's Education Department's capacity to reach and sustain quality programs for our constituencies." —Lisa Abia-Smith, Director of Education/Outreach

The Communications & Engagement Committee, chaired by Sarah Finlay, seeks to build deeper ties with the community and organizations that support the JSMA, and engage in dialogue about how the JSMA connects with audiences and meets the needs of our broader community. “I am honored to serve as chair, and believe we have an amazing group. I see this museum as an indispensable treasure for this university, our community, and the Pacific Northwest. And I hope that we, as a group, can bring our energy and talents to bear to help it continue to thrive.” —Sarah Finlay “Our group has convened twice now and I am motivated by our first conversations and ideas shared by the incredible communication professionals and arts advocates who are giving us their time. I’m excited to create further connections in our wonderful community.” —Debbie Williamson-Smith, Communications Manager

The Faculty Engagement Working Group is a new initiative to help the JSMA foster collaborations with UO faculty interested in museumbased teaching, research, and public outreach initiatives. It will promote ongoing dialogue between faculty and museum staff to foster new and innovative faculty and student use of the museum in teaching and research. The group includes faculty from a wide range of disciplines, including Anthropology; Art; East Asian Languages and Literatures; English; Environmental Studies; History; History of Art and Architecture; German and Scandinavian Languages; Indigenous, Race, and Ethnic Studies; Romance Languages; and Political Science. Chaired by English Professor, Humanities Center Director, and Leadership Council member Paul Peppis, it will liaison with the Leadership Council to help keep members informed on academic use of the JSMA, public programs related to faculty research and teaching, interdisciplinary, object-based teaching, and build awareness of the JSMA as an exciting component of the UO academic experience.

"The Faculty Engagement Working Group provides a stimulating new forum for exchange, cooperation, and collaboration between UO faculty and the incomparable collections, staff, and resources of the JSMA. Doubtless, it will lead to timely and innovative new exhibitions, research, and educational opportunities for UO faculty and students and JSMA patrons and supporters." —Paul Peppis "This is a vital, generative group that will promote dialogue between the faculty and the museum, germinating exciting new transdisciplinary projects deeply rooted in the university’s academic identity and culture. Academic museums thrive and succeed precisely to the extent that they engage faculty and thereby impact student learning and public service. This group is tailor-made to help us achieve those goals." —John Weber, Executive Director

Funding News

The JSMA’s education department has transformed its studio programs into virtual experiences.

The Agency for Healthcare Research and Quality (AHRQ) and the US Department of Health and Human Services recently recognized the JSMA with a $25,000 Success Story Award for the Art Heals workshops offered to address postpartum mental health diagnoses and treatment in rural communities.

Art Heals Receives $25,000 Award After a review process completed by a jury of public health officials and medical professionals, the JSMA was selected as one of five awards distributed nationally—a truly dramatic testament to the impact of our remote workshops on Latinx communities during COVID 19. In partnership with Samaritan Health Services, Stahlbush Island Farms, Mind Body Medicine, and Oregon State University, our Art Heals workshops for postpartum moms from Linn, Benton, and Lincoln counties were highlighted as models for rural health communities. Award funds will support the JSMA's Art Heals workshops in the coming year to benefit our diverse participants, including oncology patients, postpartum Latina mothers, and hospice care providers. They will also support OHSU medical students and staff, helping to prevent burnout and aiding in resiliency training.

Art of the Athlete

All Stars

For the past eight years, the Art of the Athlete (AofA) education program for UO student-athletes has been part of the museum’s broad outreach program that engages diverse student groups from across campus. AofA workshops are designed for students to experiment with a variety of media, including sculpture, photography, collage/mixed media, oils, watercolors and acrylic paint. Writing prompts and drawing activities are designed by Lisa Abia-Smith, JSMA director of education and a Senior Instructor in PPPM, and center around themes of identity, representation, and resiliency. The goal of the workshops is to provide students with a contemplative time outside of practice, training, and classes, a place to experience art as an outlet and a vehicle for processing and slowing down. In many cases, students use the opportunity to voice feelings of being misunderstood, to advocate for change and racial justice, and to highlight characteristics of their identities beyond a uniform. Most students begin their participation stating that they are not artists and not comfortable making art, yet by the end of the series of workshops, all of the students attest to the impact the program has had on their self-care and decompression.

"It used to be that when I heard the word art, I would think of paintings and sculpture made by famous artists. I now realize that is art used in my everyday life and it has helped me to build creativity and helped me release the stress of football and my busy schedule. Art is something that I have found can give me a sense of calmness and I will continue to rely upon it for the rest of my life." —Fotu T. Leiato II

This year, we asked six former and current AofA participants to jury artwork made over the past eight years as part of the program. A jury was comprised of Tyrell Crosby, offensive lineman for the Detroit Lions; Megan Conder, professional golfer and History of Art and Architecture graduate; Malik Lovette, former football player and UO graduate who went on to Northern Arizona to receive his master’s degree while completing his last year of NCAA eligibility; Tasa Leoso, women’s soccer player for Hayward State University and a UO transfer who serves as an AofA program manager; and Rex Manu, former UO football player and a recent graduate who medically retired from football after a severe accident. Manu states that after his accident he was “lost and in a dark place and the AofA program helped to save me.” His self-portrait, After the Uniform, illustrates how student-athletes struggle when an injury or accident removes them from the team and they are left to find their new identities and forge a new path. Two of the students whose work was selected have passed away, and both died tragically as a result of being passengers in a vehicle where the driver was intoxicated. Fotu Leiato and Tui Talia died almost one year apart from one another and were committed participants in the AofA program for three years. They not only participated in the workshops, but also volunteered their time on Saturdays in the museum’s VSA accessible art classes for children with disabilities. When describing the AofA program, Steve Stolp, Executive Director, Services for Student-Athletes of Academic Support, said in 2018, “It is by far the most significant project that immersed our student-athletes into the university community. Most of the students divide their time between classes, tutor sessions, practices, and meals, and this exhibition and program introduced them to the incredible resources at the art museum.” Some of the 30 artists and AofA participants selected this year by the jury include: Evan Baylis, tight end for the Green Bay Packers; Deforest Buckner, defensive tackle for the Indianapolis Colts; and Sabrina Ionescu, point guard for the New York Liberty.

Top: Fotu T. Leiato II. Self Portrait. Acrylic on vintage wallpaper Bottom: Tui Talia. Juice. Acrylic paint on decorative wallpaper

“It gives me great joy to continue teaching the workshops virtually, and I appreciate that the JSMA allows me to be the instructor. This is a great opportunity for Spanishspeaking women since the workshops are taught in Spanish." —Jessica Zapata

Madres Club

grows to record audiences during pandemic "We virtually continue to interact with the local Latina mothers, but now there has also been an opportunity for more women and their children to join the class," says Zapata. “There are mothers who attend from Corvallis, Portland, Beaverton, and Mexico. Sometimes even the husbands of the assistants share their music with us as we work on the projects. For example, in one of the workshops, the husband of one of the participants, played his accordion while we did our project; in another class, a girl recited poems to us,” Zapata shares. According to one workshop participant Yesenia Gonzalez, “I have been participating in this workshop for two years and I think it is magnificent. Obviously, I was fascinated by going with my children Penêlope, Landen, Chaac, to the workshop in the museum.... But Hannah Bastian, museum educator for studio programs and special projects, creates on the Zoom platform, we learn and share in the same way. Thanks art supply kits for remote programs. to the teacher Jessica and the Jordan Schnitzer Museum for all the materials and the time dedicated to all the participants, including Since June 2020, the Jordan Schnitzer Museum of Art Madres Club our children." has been offered virtually. Each month, the museum provides kits with art supplies to around 70 Latina moms and their children for Another participant, María C, comments, “I am very happy to have free workshops led by artist Jessica Zapata. Notably, participation found these workshops. I am grateful to the museum for providing in Madres has expanded significantly since the pandemic lockdown us with the material and this space. The instructor Zapata is very occurred. Previously, each session attracted fifteen to twenty attentive, patient, and her zoom meetings are very nice. She shares participants, a number that has regularly tripled since last March. her knowledge and teaches beautifully. Thanks to these workshops The program has also attracted participants from well beyond Lane I have met other people with whom I have become friends. I attend County, rapidly becoming a state-wide resource. the workshops with my son, and together we learn a new skill “The participants have learned to embroider, paint, and create various crafts every month, all of them focused on Latin American arts. Through the workshops, a space is provided where we can learn and interact with Spanish-speaking people. We always share stories about our culture, our language and at the same time free ourselves from stress,” says Zapata.

month after month. My hope is that the museum continues with this beautiful project”. Madres Club is offered on the first Saturday of each month, 10:0011:30am. Please contact Hannah Bastian, hbastian@uoregon.edu, for more information.

Calendar OF EVENTS WINTER 2021 Events All events are virtual, visit jsma.uoregon.edu for details

Madres Club George Johanson, 2020 (Photo by Aaron Johanson)

Upcoming Members Experience: Premieres Thursday, February 18, 5 p.m. Members are invited to view a special, pre-recorded virtual program about Nkame: A Retrospective of Cuban Printmaker Belkis Ayón. Celebrating the launch of Ayón's stunning exhibition at the JSMA and the release of a new JSMA-commissioned video about her, the program includes commentary about the artist’s work by the JSMA’s Curator of Latin American and Caribbean Art, Cheryl Hartup, and an introduction by JSMA executive director, John Weber. Scan to submit your questions in advance or visit: https://jsma.uoregon.edu/members-rsvp

2021 David and Anne McCosh Memorial Visiting Lecturer Series George Johanson: Why Make Art? February 28, 2:00 p.m. (Live Zoom Webinar) Register Now: http://bit.ly/2NyDP6s At age 92, Portland-based artist George Johanson has been drawing and painting for over 80 years. In this slide lecture and studio visit on Zoom Webinar, he will talk about where art has taken him, and why he feels the need to keep making it. Q&A to follow. Made possible by the David John and Anne Kutka McCosh Memorial Museum Endowment Fund.

VIRTUAL WORKSHOPS

Uncanny Sensing, Remote Valleys: A Conversation with Steve Rowell and Emily Eliza Scott Recorded on February 4 Watch Now: http://bit.ly/2NGpEMS Zoom Webinar conversation with Steve Rowell and Emily Eliza Scott, Assistant Professor of Art History and Environmental Studies, on the exhibition and how the artist appropriates the methods and tools of the geographer and archaeologist. Q&A to follow.

Saturday, January 9, February 6, March 6, April 3, May 1, June 5 10 – 11:30 a.m. Club comunitario de arte para madres de habla hispana que desean expresar su creatividad y mejorar sus destrezas de arte. Los niños están invitados a participar y crear sus propios trabajos de arte. Las clases se llevarán a cabo vía Zoom. Un paquete con el material necesario será proveído al llenar un formulario de inscripción.

ArtAccess VSA Workshops for K-12 Children with Special Needs Saturday, January 9; February 13, March 13, April 10, May 8, June 12 11 a.m. – 12 p.m. Art workshop for children with special needs, led by artists in a creative and caring atmosphere. This workshop is offered over Zoom. Your reservation is required in order to receive a packet of art materials for each workshop. Contact artheals@uoregon.edu to register. This VSA program is provided in 2020-2021 under a contract with the John F. Kennedy Center for the Performing Arts.

Laura Fritz: “Mechanisms of Uncertainty” Thursday, February 11 4 p.m. Register Now: http://bit.ly/3ciki4O Portland-based artist Laura Fritz works with a range of media, including, sculpture, video, and light. Her immersive installations explore the cognition of uncertainty. Co-sponsored by the Jordan Schnitzer Museum of Art and the Department of Art.

Reflections and Connections Thursdays, February 11, 4-5 pm Individuals with young-onset or early- to mid-stage dementia and their care partners are invited to join a video conference conversation based around artwork in the JSMA galleries and collection. Reflections & Connections was created in partnership with the Alzheimer’s Association. Space is limited; participants must register in advance. Contact artheals@uoregon.edu or 541-346-6410 with questions or to reserve your spot.

Scan here to read the digital version of the Winter Magazine.

WATCH IT

ONLINE

Experience the museum from home with the newest episodes of our series,

Artist Talk: Hallie Ford Fellows Recorded January 6 Hallie Ford Fellows Avantika Bawa, Pat Boas, and Elizabeth Malaska discuss materials, formal concerns, and methods of making. Moderated by Jenelle Porter, curator of Hallie Ford Fellows in the Visual Arts 2017-19. Audience Q&A follows. This program is made possible thanks to The Ford Family Foundation. Watch Now:

Steve Rowell SCAN OR VISIT

https://bit.ly/3j6pDNV

https://bit.ly/3ccXVgZ

Artist Talk: Sandy Rodriquez Watch now:

HALLIE FORD FELLOWS in the Visual Arts 2017–19 SCAN OR VISIT

https://bit.ly/3jfx1Xm

https://bit.ly/2MLT7nU

Myriad Treasures: Gallery Talk with Ina Asim and Anne Rose Kitagawa Watch now:

https://bit.ly/2LayOjR

NUESTRA IMAGEN ACTUAL

OUR PRESENT IMAGE

MEXICO AND THE GRAPHIC ARTS 1929-1956

SCAN OR VISIT https://bit.ly/2YDg6Eq https://bit.ly/36xJAYF

ENGLISH

SPANISH

Day of the Dead Celebration Watch now:

https://bit.ly/3oA9dhH

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Oak Hill School student Dania Covarrubias places a candle on her school’s Day of the Dead altar in the JSMA’s courtyard.

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Hallie Ford Fellow Niraja Cheryl Lorenz poses by the JSMA banner featuring her work. Photograph by Merry Song.

3-4 Isaiah Lightdancer, Paul Nordquist, and Cheryl Hartup set up alters for the 39th annual Día de los Muertos Celebration. You can experience this event on our YouTube Channel. 5

The courtyard was filled with the sound of music [Mozart] when students from Won Kim’s Performance Clarinet class rehearsed fall term. Professor Kim wanted his students to have the experience of performing in an elegant space.

LA-based painter Sandy Rodriguez shares her work with UO Latinx Scholars Academic Residential Community students and JSMA audiences in a virtual program on December 2. Generous support for this project provided by Art Bridges.

Faculty Engagement Working Group (FEWG) Zoom meeting with professors Paul Peppis (chair), Stephen Dueppen, Dorothee Ostmeier, Kate Kelp-Stebbins, Amanda Wojick, Vera Keller, Mariachiara Gasparini, Emily Scott, Kirby Brown, and Roy Chan.

Installing mounts for our new light track in the Huh Gallery.

Maude I. Kerns Associate Professor of Japanese Art Akiko Walley discusses her bilingual digital exhibition Tekagami & Kyōgire: The University of Oregon Japanese Calligraphy Collection (https://glam.uoregon.edu/s/ tekagami-kyogire/page/welcome) during the event celebrating the completion of the JSMA/UO Libraries’ Mellon grant-funded faculty research projects.

10 Ina Asim and Anne Rose Kitagawa lead a virtual tour of the Soreng Gallery’s Myriad Treasures.

11-12 Chanin Santiago from the City of Eugene’s Cultural Service department leads a tour of potential RESIST COVID | Take 6! Locations with John Weber and Debbie Williamson-Smith. 13

Jessica Zapata hosts our first Spanish language episode of JSMA Creates.

Steve Rowell reflects upon the installation of his exhibition, Uncanny Sensing, Remote Valleys.

15-16 Emily Eliza Scott, Assistant Professor of Art History and Environmental Studies, and graduate student Sasha White visit Steve Rowell’s Uncanny Sensing, Remote Valleys in the Artist Project Space to prepare for teaching with the exhibition’s virtual tour this term.

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In the heart of the University of Oregon campus Phone: 541-346-3027 Fax: 541-346-0976 Website: http://jsma.uoregon.edu

Hours Please watch our website and social media for virtual ways to engage with the JSMA from home. We'll share reopening plans as soon as we are able.

These limited edition, custom printed t-shirts featuring Creation of Crow (black shirt) or Crow Chant (blue shirt) by Rick Bartow (American, Mad River Wiyot, 1946-2016) are available at the JSMA Museum E-Store. Artwork courtesy of the Bartow Trusts

Get yours before they are gone!

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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.