JSMA Spring Winter Magazine 23

JORDAN SCHNITZER MUSEUM OF ART

Director’s Report

It is 2023, and there is so much good news it’s hard to know where to begin. That said, I’ll start with the news about our building itself, since that is arguably the biggest, most long-lasting news. Thanks to the timely and excellent work of our contractors and key JSMA staffers—shout out here to Kurt Neugebauer and Justin Stuck in particular!—we have completed the significant physical plant renovations I wrote about in the last JSMA magazine. These three projects address critical needs for collection storage, public programs, and staff work space.

First of all, our new Collections Lab is now providing teachingaccessible storage for the Wadsworth Collection of Contemporary Chinese Photography, with added room on the new Space Saver movable art storage racks and in new flat files for future collection growth. The Collections Lab offers dramatically expanded capacity to host classes for supervised art viewing sessions, with significantly improved viewing conditions. It is hard to overstate how beneficial this facility will be in enhancing our work with faculty and students and supporting all of our pedagogical and research activities as a teaching museum. Our profound thanks to Jack and Susy Wadsworth, and the family’s W.L.S. Spencer Foundation, for supporting this crucial and strategic move, as outlined in our last magazine’s article about the Spencer Foundation grant.

Along with the opening of the new Collections Lab, we are all enjoying the elegant new Ford Lecture Hall, which occupies the former dining space of the restaurant. Located right at the front of the museum and adjacent to the Faculty Lounge, it offers a higher ceiling, new audio visual equipment, and a proportionally more pleasing design than the former Ford Lecture Hall. It will serve as our primary public event, lecture, classroom, and seminar space, a perfect complement to the Papé Reception Hall. We look forward later in 2023 to reopening the restaurant, with covered outdoor seating in the South Courtyard.

The last piece of our physical plant work will remain invisible to museum visitors, but important for all of us who work here. By converting an existing, under-utilized conference room into a suite of staff work spaces, we can now offer suitable and upgraded working conditions to our head registrar, photography curator, post-graduate curatorial fellows, and Korea Foundation intern, while freeing up existing office space for the new curator of Chinese Contemporary and Traditional Art.

And that brings me to our featured Winter-Spring exhibition, Framing the Revolution, Contemporary Chinese Photographs from the Jack and

Susy Wadsworth Collection, which we will celebrate with receptions on February 10 and 11. As we have previously reported, the Wadsworths donated a major collection of significant contemporary Chinese photography to the JSMA in 2018. Then last year, they made a generous 5-year grant to support the framing, storage, and exhibition of those works, and launched a new curatorial position focusing on Chinese art. Framing the Revolution is the first of a series of exhibitions that will draw on that collection. You can read more about the show elsewhere in this issue of the magazine, so I’ll keep my comments brief here. China is the most populous country in the world, and has the second largest economy (after the United States). This show and the others that will come from the Wadsworth Collection will offer JSMA visitors and University of Oregon faculty and students a uniquely powerful lens through which to view contemporary China, the political histories that have shaped it, and how artists have responded. The collection includes many of the most important art works to emerge in the wake of the Chinese Cultural Revolution, iconic images that grace the covers of art history books documenting the rise of contemporary art in that country. So it is both an honor and a pleasure to begin the multi-year process of unveiling the Wadsworth Collection in Framing the Revolution. My thanks to JSMA chief curator Anne Rose Kitagawa for curating the exhibition, and to our collections manager, Chris White, and JSMA preparator and conservator, Beth Robinson-Hartpence, for overseeing framing work on the collection.

In other exhibition news, the museum looks forward to the first exhibitions planned by our new Curator of Academic Programs and Latin American and Caribbean Art, Adriana Miramontes Olivas. The first is What We Leave Behind, a show drawn from the collection that opens in the Graves Gallery this winter. She is also working on a video and sculpture installation by Mexican artist Tania Candiani that we hope to have on view later this year. Congratulations to Adriana!

The museum is delighted to announce that our 2023 Gertrude Bass Warner Award winner is artist Ellen Tykeson! I had the great pleasure of working closely with Ellen when she served brilliantly as our Leadership Council President through two years of the pandemic. Two of her works grace the UO campus, and her sculpture of museum founder Gertrude Bass Warner herself greets visitors to the JSMA lobby. And as we announced in our last JSMA magazine, the $350,000 grant to the museum’s Art Heals programs was from the Tykeson Family Foundation overseen by Ellen and her siblings. I can’t thank Ellen enough for all she has done for the museum—she is a richly deserving GBW Award winner!

In October we had terrific Patron Circle and Members events, and I look forward to our receptions on February 10 th and 11th. Until then, I want to thank our Members, the Patrons Circle, our Leadership Council and LC President Patti Barkin and Vice President Sarah Finlay for the support and enthusiasm that keeps the museum rolling.

See you at the JSMA!

John Weber

Framing the Revolution

Contemporary Chinese Photographs from the Jack and Susy Wadsworth Collection

Barker Gallery | January 28 - August 27, 2023

In 1987, Jack and Susy Wadsworth moved to Tokyo, where they amassed an important collection of over 160 postwar Japanese prints, which they generously donated to the JSMA in 2012 (celebrated in our 2015 Expanding Frontiers exhibition and catalogue). Relocating to Hong Kong in 1991, they used the city as a base for broader explorations of China’s burgeoning art scene, establishing contacts with cutting-edge artists, critics, and galleries and beginning to collect contemporary Chinese photographs. After they returned to the U.S. in 2001, the Wadsworths’ remarkable and diverse collection grew to encompass over 190 photos by 16 artists, including numerous propaganda, documentary, and performance images, a single-channel video, and multiple large-format series, which they began donating to the JSMA in 2018.

Presented in the Barker Gallery and curated by Anne Rose Kitagawa, Chief Curator of Collections & Asian Art and Director of Academic Programs, Framing the Revolution is the first of a series of major exhibitions drawn from the Jack and Susy Wadsworth Collection of Contemporary Chinese Photographs. It features more than 50 politically-charged works produced by seven artists between 1958 and 2006. Together, they reflect upon modern Chinese history, examining events such as the Red Army’s Long March (1934-35), the Great Proletarian Cultural Revolution (1966-76), and other moments of tremendous change and social upheaval.

This abbreviated survey of mid-20th to early 21st-century photography begins with black-and-white propaganda images by Wang Shilong (1930-2013), showing aspects of Chinese society before, during, and after the Cultural Revolution, and continues with journalistic images by Hong Kong-born Liu Heung Shing (born 1951) documenting the group of idealistic young artists behind Beijing’s 1979 Stars Art Exhibition. It also features the notorious photograph of Xiao Lu (born 1962) firing a gun at her own art installation during the February 1989 opening of Beijing’s China/Avant-Garde Exhibition, and powerful works by Sheng Qi (born 1965) that critically examine the legacy of the Cultural Revolution and the 1989 government suppression of student protesters in Tiananmen Square. The exhibition concludes with two contemporary series in which artists reenact and re-present the harrowing 5,600-mile Long March seventy years later. Shao Yinong (born 1961) and Muchen’s (born 1970) compelling photos carefully document empty assembly halls where important political meetings took place along the historic route, while Qin Ga (born 1971) traces the reenactors’ progress to each site on the map of China he had tattooed on his back.

These vibrant, provocative images point the way toward a series of future Wadsworth contemporary Chinese photo exhibits that the JSMA will organize over the next few years. We are deeply indebted to the collectors for their gifts of these fascinating works and for their magnanimous ongoing support of our exhibition and teaching missions.

Previous Spread: XIAO Lu 肖鲁 (born 1962). Chinese, n.d. [event: 1989]. Dialogue-Shooting (detail). Color photograph, 35 ½ x 46 ½ in. Gift of the Jack and Susy Wadsworth Collection of Contemporary Chinese Photographs

Opposite: SHENG Qi 盛奇 (born 1965). Chinese, 2004. My Left Hand - Red Army Mao (detail). Color photograph, 37 x 24 7/8 in. Gift of the Jack and Susy Wadsworth Collection of Contemporary Chinese Photographs

Opposite,

Above: SHAO Yinong 邵逸农 (born 1961); MUCHEN 沐辰 /慕辰 (born 1970). Chinese, 2006. Xi Baipo, from the Assembly Hall Series . Color photograph, 50 x 68 in. Gift of the Jack and Susy Wadsworth Collection of Contemporary Chinese Photographs

Opposite, top: WANG Shilong 王世龙 (1930-2013). Chinese, 1974. Blocking the Hidden Stream , Huixian County. Black and white photograph, 14 x 20 in. Gift of the Jack and Susy Wadsworth Collection of Contemporary Chinese Photographs

bottom: LIU Heung Shing 劉香成 (born 1951). Chinese-born American, 1978. Artist Wang Keping at Home Studio, 1978. Gelatin silver print, edition 3/16, 23 ¾ x 19 ¾ in. Gift of the Jack and Susy Wadsworth Collection of Contemporary Chinese Photographs

A Conversation with Jack and Susy Wadsworth

As we prepare to open our new Collections Lab and explore the exhibition Framing the Revolution, John Weber and Anne Rose Kitagawa spent some time learning about the Jack and Susy Wadsworth Collection of Contemporary Chinese Photography with the collectors themselves.

John Weber: Before you were in China you were in Japan, right, and for how many years?

Susy Wadsworth: Five years.

John: And that’s when you started collecting Japanese prints. Had you been collecting art before that in a serious way?

Jack Wadsworth: No, that was the beginning.

John: How did you make that leap?

Jack: Well, we went to Asia with the big idea that we should develop some pursuits that would help us understand the culture of where we were going. And there are three ways to learn a culture. One is to study history. Another is to learn the language. And the third is to study the country through its art. At a great academic institution, you do all three. We didn’t have time to do all three. So when we got to Japan, Susy did learn the language. And we picked art and started collecting postwar Japanese prints.

John: When you moved to Hong Kong, did you come thinking, okay, we’re going to use art again to get to know the culture here.

Jack: Yes, we did.

Susy: And we also knew Hong Kong before we moved there, because Jack had business there all the time, and we went back and forth a lot, so we knew what we were getting into, I think, more so than when we went to Japan.

John: How did you first begin to engage with modern and contemporary Chinese art? Were there important people or art spaces for you?

Jack:  Actually, during our time in Japan we got to know a couple, Jerry and Joan Lebold Cohen.  Joan wrote the definitive book on 20th-century Chinese art, New Chinese Painting:  1949-1986, and Jerry was a bilingual American lawyer living in Beijing in the late 80s. We told them we were coming to Hong Kong and would they introduce us to the gallery scene in Hong Kong with a particular emphasis on 20th-century Chinese art? Sure enough, before we even moved to Hong Kong in the 1990s, they had introduced us to some of the leading but few galleries in Hong Kong.

We had many conversations with them, others, and with ourselves, and these led us to eventually focus on 20th-century Chinese ink painting. Today thirty-some of these paintings are in the Metropolitan Museum of Art’s collection. It’s kind of hard for us as two kids from Kentucky to walk into the Met and see some of our own paintings hanging in the Chinese gallery!

John: So you connected right away with the most interesting Chinese galleries. How often did you go out to see art? How was it a part of your lives there?

Jack:  Well, gallery shows were frequent, but for viewing 20th-century Chinese ink painting, it was really about museums. Also back in the late 80s and early 90s, it was about the auction houses’ spring and fall auctions orchestrated by Christie’s and Sotheby’s in Hong Kong. Both houses were there, but not in mainland China yet.

Our curiosity to learn about modern and contemporary art led us to cultivate many relationships and friendships in the community. Among the experts whom we saw frequently was Catherine Maudsley, who helped us with many of our projects and who became an important close adviser and special friend…and important personal acquaintances such as Gloria and Kingsley Liu.

Susy:  If Jack went to Beijing, often I would go too, and then over the weekends we would comb the art scene. It was fun to do. We knew much about 798 and Caochangdi, the prominent art districts. Both had just opened by the late 80s and early 90s when we were there, and one of the leading galleries was Long March Space founded by Lu Jie. This is where we bought some of the Chinese photographs. When we were in Hong Kong we developed relationships with Hanart Gallery and 10 Chancery Lane, and likewise, when visiting New York we learned about Chambers Fine Art Gallery.

John: A lot of work in your collection, let’s take the Long March series by Qin Ga, is really radical art. I’m curious about how that came on your radar and your responses to work like that at the time.

Jack:  As you know, Qin Ga was a member of the Long March Project from 2002-2005. This performance retraced the steps of the Chinese Communist Party’s 1934-35 Long March led by Mao Zedong (1893-1976) and his colleagues. Qin was a major player in the contemporary Long March who documented the various stops on the Red Army’s 5,000+ mile journey to Yan’an on the map of China he had tattooed on his back. There is a 40-minute video of this re-enactment!  One of the critical, and I would say benefits from diving deeply into the 20th-century Chinese ink tradition is to look back to the Cultural Revolution (1966-76). Prominent artists such as Shi Lu (1919-1982) and Pan Tianshou (18971981) were among artists persecuted. Some others were killed. They were the absolute giants of the 20th century in terms of the real Chinese aesthetic, and through their traditional dedication to the Chinese art form, they were the forerunners in a way of most of the radical art that took place later. They’re all connected—all of the photography and the contemporary Chinese painting. Most of these artists have a serious toe in the tradition of Chinese artistic endeavor. So they are connected. Not surprising, one then very quickly gets to the performance art of the 1980s and the powerful statements that the artists are beginning to make. Many of our photographs—they are really not about photography—they’re about performance art, and that was the tip of the iceberg that was connecting us to the movement. That led to our getting more deeply into photography and then thinking, okay, there must be some great photographers in this milieu of crazy performance art. Then we were drawn to Three Shadows Photography Art Centre. That is a serious photography studio with two very creative people, Rong Rong and inri, and they did some edgy stuff in the early days photographing buildings that were being torn down. There was plenty of protest in what they did, but at the end of the day, it was just brilliant photography.

John: Did artists have enough English to talk to you?

Jack:  Long March Gallery owner Lu Jie speaks perfect English and so does Qiu Zhijie.  But that was the big difference between the 20th-century Chinese ink and our photography collection. Obviously, most of the 20th-century ink painters were gone by the time we got seriously involved.  But we became, I would say, good friends with, for instance, Rong Rong and inri, and used to visit their Caochangdi gallery often, have dinner, and we funded some of their education initiatives.  However, Rong Rong was more fluent in Chinese and inri in Japanese, creating a challenge for dialogue, but we found ways to communicate.

Rong Rong 荣荣 (born 1968) and inri 映里 (Japanese, born 1973). Chinese, 2007. Caochangdi, Beijing, 2007, No. 1 Hand - colored gelatin silver print, edition 8/8, 46 ½ x 45 7/8 in. Gift of the Jack and Susy Wadsworth Collection of Contemporary Chinese Photographs

The photos reproduced in this article will not be included in Framing the Revolution, though they will be featured in future Wadsworth contemporary Chinese photography exhibitions.

Qiu Zhijie became an acquaintance, and for a period we saw him often. One of the things that just fascinated me was the Long March series of performance art endeavors and a lot of photography that was prominent in the late 80s and 90s came out of that. Qiu was a big, big part of that, and I think he’s one of the most prominent contemporary leading artists in China today.

John: Fascinating. In terms of the collection, how about the decision to get the propaganda photographs from much earlier on, and also the documentary photographs—the Stars Art Group documentary series.

Jack:  The Stars photos were purchased at a Hong Kong art fair from 10 Chancery Lane. I was always fascinated by two moments in Chinese contemporary art history. One was the Stars movement in 1979, and the other was the National Art Gallery’s 1989 China/Avant-Garde exhibition, at the opening of which Xiao Lu pulled out a gun and shot her phone booth art installation just a few months before the student demonstrations in Tiananmen Square.

Chancery Lane gallery had that collection of Liu Heung Shing’s Stars photos on exhibit. . . and I walked into her booth and bought the whole thing.  Just said we had to have this!

Anne Rose Kitagawa: I remember the message we received from you saying, “We’ve got this new stuff!”—and thinking, this is the best news ever!

Jack:  In answer to the Cultural Revolution photos by Wang Shilong, they were purchased from a small gallery on the fringe of the 798 Art District. These photos appeared to represent a rare opportunity to obtain a collection of Cultural Revolution works by a well-known photographer all at once.

John: They are actually key pieces of the collection, and on view in this first show. Anne Rose, did you want to relate what Lei Xue said about these works, the Stars photos in particular?

Anne Rose: Xue, who is the professor of Chinese Art History at Oregon State University, is focusing more and more on contemporary Chinese photography these days, and was able to invite Chinese photo historian Aiping Ying from Nanjing Normal University to OSU as a visiting scholar.

They were both deeply moved by journalist Liu Heung Shing’s 1979 Stars images. Ying in particular said that she’d seen a couple of the pictures he took of the young artists in their studios, but had never seen the ones of them demonstrating carrying protest signs. She was moved by their bravery, intuitively understanding what an optimistic moment that was. Getting feedback like that from specialists makes it clear what an important collection you created!

Jack: The older I get, the more convinced I am that the most important moments in life are about serendipity, and you can’t plan them. You walk into a space into a gallery, and you see something all of a sudden that you hadn’t expected to see. And do you do something about it or not? That’s the question.

Many parts of this photography collection, this journey, are knit together in a sort of logical way in my mind—they trace a path through that period of time. But some of the most important pieces came completely by accident—totally, unbelievably by accident. You just walk into a space and you say, Wow, this is important.

Above: WANG Qingsong 王庆松 (born 1966). Chinese, 2002. Knickknack Peddler. Inkjet print, 23 1/4 x 78 in. Gift of the Jack and Susy Wadsworth Collection of Contemporary Chinese Photographs

Opposite: QIU Zhijie 邱志杰 (born 1969). Chinese, n.d. (1994-2000). Tattoo Series 1. Color photograph (first of a set of nine), edition 3/16, 73 3/16 x 57 3/8 in. Gift of the Jack and Susy Wadsworth Collection of Contemporary Chinese Photographs

ZHANG Huan 张洹 (born 1965). Chinese, 1998. To Raise the Water Level in a Fish Pond. Color photograph, 29 ½ x 39 3/8 in. Gift of the Jack and Susy Wadsworth Collection of Contemporary Chinese Photographs

The First Metal: Arts & Crafts Copper

Copper, one of the few metals that occurs naturally in a usable form, was the first metal humans fashioned into tools and accessories. For nearly five thousand years—from about 9,000 to 4,000 BCE—it was the only metal worked by humankind. From northern Iraq, where a small pendant dating to about 8700 BCE was found, to the Great Lakes region, where Native American cultures were mining and working copper more than 8,500 years ago, copper’s impact was widespread and significant. Comparatively soft, plentiful, readily mined in its pure form, and easy to shape with hand tools, copper has remained a favored material of metalsmiths to this day. The First Metal: Arts & Crafts Copper will be the first exhibition devoted solely to the use of copper in the Arts & Crafts Movement. Drawing on the JSMA’s Margo Grant Walsh Twentieth Century Silver and Metalwork Collection and a select number of private and museum loans, the exhibition will present a range of hand wrought copper works by many of the premier metalsmiths working in late 19 th and early 20 th century Britain, the United States, and beyond. The exhibition will be accompanied by a fully illustrated catalogue with essays by Arts & Crafts scholar-curators Mary Greensted of the United Kingdom and Jonathan Clancy of the United States.

The Arts & Crafts Movement emerged in the second half of the 19 th century as a reaction against the rise of industrial labor, factories, and the profusion of cheaply-produced, machine-made goods in Britain. Its most influential proponent was William Morris, the British writer, poet, designer, and socialist. Inspired by medieval art and architecture and the writing and ideas of John Ruskin, an art critic, philosopher, and author, Morris formed the center of a circle of other like-minded artists, architects, and designers. They valued handmade objects for everyday use and believed, with Ruskin, that “self-respect derived from work and that handwork was its purest form, making better individuals and providing opportunities for creativity and human judgement,” as Greensted has noted. Morris’s decorative arts firm, Morris, Marshall, Faulkner & Co., deeply influenced British design in the Victorian era and impacted designers and architects in the United States and Europe.

For Arts & Crafts artisans and workshops, objects wrought from copper, a comparatively inexpensive “base metal,” aligned with the Movement’s commitment to producing handmade works that were widely accessible. As Morris noted in 1878, “I do not want art for a few, any more than education for a few, or freedom for a few.” Far

Charger, John Pearson (British, 1859–1930), copper, 15 ½ in. diameter. Margo Grant Walsh Twentieth Century Silver and Metalwork Collection, gift of Margo Grant Walsh

MacKinnon

less expensive than gold or silver and easier to work than brass, iron, or steel, their copper works exhibited the impact of the metalsmith’s hammer, and created a visceral record of the object’s fabrication. These wares helped democratize the Arts & Crafts Movement’s ethical commitment to handmade housewares. Copper also served as a vehicle for approval prototypes that would later be made in more precious metals such as sterling silver.

Desktop boxes and humidors, bowls, vessels, trays and chargers, candlesticks, bookends, inkwells and letter openers, coffee services and other objects of daily use form the bulk of Arts & Crafts copper production. Clearly displaying the touch of the metalsmith’s hand tools, they express an artisanal world of domestic intimacy and hand wrought beauty that stands in sharp contrast to the massproduced wares of the industrial era. Objects in The First Metal showcase the full variety of forms fabricated from copper by artisans and workshops across the United Kingdom and the United States, where Arts & Crafts ideas also took root. American artisans used the basic vocabulary of the British movement, but responded to specifically American conditions, including the influence of artisanentrepreneurs such as Gustav Stickley and Elbert Hubbard of the Roycroft community.

Noted United Kingdom Arts & Crafts artisans and workshops represented in the show include John Pearson, A. E. Jones, Hugh Wallis, the Birmingham Guild of Handicraft, Newlyn Industrial Class, Hazelwood Studios, Arthur John Seward, George Henry Walton, and more. Along with Stickley’s Craftsman Workshops and Hubbard’s Roycrofters, the United States is represented by Joseph Heinrichs, Dirk van Erp Studio, Albert Berry, Hans Jauchen, Old Mission Kopper Kraft, and others. Arts & Crafts ideas and styles also spread across the Commonwealth and to the European continent, and the exhibition includes example of artisans working in New Zealand, Australia, and Germany.

The First Metal is organized by guest curator Marilyn Archer, working with Margo Grant Walsh as curatorial consultant. As a graduate of the University of Oregon School of Architecture and recipient of the prestigious Lawrence Award, Margo Grant Walsh has been a long-time supporter of the University and of the Jordan Schnitzer Museum of Art.

Lidded copper box with contrasting feet and appliqué, Hazelwood Studios, Irish-English, ca. 1900, copper, H: 5 ½ x W: 6 7/8 x D: 10 ¾ in. Loan of Margo Grant Walsh, New York, New York

Pitcher, Birmingham Guild of Handicraft, British, ca. 1900, patinated copper

in. Margo Grant Walsh Twentieth Century Silver and Metalwork Collection, gift of Margo Grant Walsh

University of Oregon MFA Art Exhibition 2023

Schnitzer Gallery | May 6 - June 20, 2023

The University of Oregon MFA Art Exhibition 2023 culminates three years of independent research and experimentation by a cohort of five artists whose various practices engage a broad range of inquiry. This year marks the 100th year of the University’s MFA degree, making it one of the oldest programs in the country. As a marker of the program’s centennial moment, the MFA exhibition returns to the JSMA, making the work accessible to the UO and Eugene community, while celebrating the MFA graduates’ efforts in the high standard of the museum setting.

The JSMA will be open for UO graduation, Tuesday, June 20 from 11 a.m. to 5 p.m.

Will Zeng, ACCELERATIONIST, 2022. Oil on foam, 62.5 in. x 21 in.

James Turrell Installation Comes to the JSMA

Opens March 22, 2023

From March 22, 2023 until March 2024, the JSMA’s Focus Gallery West will be the site of one of James Turrell’s mesmerizing light installations, CAPE HOPE (S. AFRICA) Elliptical Wide Glass, 2015. A superb example of the artist’s technologically advanced light works, CAPE HOPE takes the form of a computer-controlled, multi-colored LED array situated behind a translucent cloth scrim, architecturally inset in the gallery wall within an elliptical aperture. Over the course of CAPE HOPE ’s two and a-half hour run time, the work’s elliptical void will display an infinitely varied, slowly and subtly changing palette of disembodied, glowing color. The effect is entrancing, silent, and beyond the capacity of words to convey.

Speaking of these works, Turrell has noted that he is interested in the immateriality of color and the sensorial experience of space, color, and perception. They can take several different basic forms, including circular, rectangular, or elliptical shapes, as with CAPE HOPE. As the artist notes,

“To some degree, to control light I have to have a way to form it, so I use form almost like the stretcher bar of a canvas. When I prepare walls, I make them so perfect that you actually don’t pay attention to them. This is true of the architecture of form I use: I am interested in the form of the space and the form of territory, of how we consciously inhabit space.”

Turrell’s career began in the 1960s as one of the first Light and Space artists of Los Angeles, but he became known for his decades-long effort to complete a mammoth and staggeringly ambitious series of light works outside and within Roden Crater, an extinct, 400,000 year old volcano in Arizona. Literally carved into the mountain, the Roden Crater Project ’s separate sky viewing spaces, tunnels, and other components offer a profound way to contemplate light, time, and the landscape. Together they constitute one of the contemporary art world’s truly legendary life projects.

While working on the Roden Crater, Turrell has continued to produce smaller sky spaces—architectural chambers that open up to the sky— and technologically sophisticated works such as CAPE HOPE, meant for galleries, museums, and private collection spaces. Turrell’s installation at the JSMA will be the artist’s first major new work to show in Eugene, and as far as the museum knows, in Oregon. The museum gratefully thanks Los Angeles collectors Hedy and Benjamin Nazarian for the loan of CAPE HOPE, and Pace Gallery Los Angeles for assistance in bringing the work to the University of Oregon.

What We Leave Behind

What We Leave Behind invites viewers to examine the notion of global mobility as a fundamental human right. In works by artists Juan Carlos Alom, Norma Vila Rivero, Lilliam Nieves, Sandra Ramos, and Luis Palacios Kaim, the exhibition explores the causes of the contemporary diaspora as well as the consequences of the surveillance state and a global border apparatus. It questions the systems that commodify bodies and allow the free movement of goods, businesses, and a corporate class, while criminalizing those who seek to escape violence and uninhabitable spaces.

What We Leave Behind evaluates the network of forces that compel many to leave “home” and the challenges encountered through borderization. Adopting Achille Mbembe’s inquiries, it asks, “What, then, is this ‘borderization,’ if not the process by which world powers permanently transform certain spaces into impassable places for certain classes of populations? What is it about, if not the conscious

multiplication of spaces of loss and mourning, where the lives of a multitude of people judged to be undesirable come to be shattered?” Other themes in the exhibition include family separation, the failures of modernization, climate change, and domestic violence.

The exhibition’s title, What We Leave Behind, is inspired by the documentary of the same name, by Director Ileana Sosa (2022), that focuses on relationships, memory, and transnational interactions. Both the exhibition and documentary embrace the concepts of mobility and of freedom. As the Cuban-born artist Sandra Ramos has stated, “I wish there were a bridge not only for the Strait of Florida but for every geographical point in dissension; for every place where it is necessary and advantageous for people to step across. For those countless places where man wants to try his luck, take shelter, work or join his brothers. I wish there were bridges, thousands of surprising and mysterious bridges that like the Nautilus would carry us into the deep waters of freedom….”

Morris Graves Gallery | January 6 - June 4, 2023

Juan Carlos Alom (b. 1964 Cuba) Mandy and Tara , 2004 Photoengraving, 30 x 22 in. sheet. Gift of Dr. and Mrs. Irwin R. Berman. 2011:1.1

Our Shared Breath: Creativity and Community

"We are showered every day with gifts, but they are not meant for us to keep. Their life is in their movement, the inhale and the exhale of our shared breath. Our work and our joy is to pass along the gift and to trust that what we put out into the universe will always come back."

Robin Wall Kimmerer (Citizen Potawatomi Nation, b. 1953), Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge, and the Teachings of Plants (104).

Lehuauakea (Kanaka Maoli (Native Hawaiian), b. 1996). Chinook , 2022. Earth pigment on kapa, 11 x 14 in. Image courtesy of the artist.

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

For the virtual tour of the 2021-2022 Common Seeing, Meeting Points, please visit: bit.ly/3U1NY8n

Robin Wall Kimmerer’s campus talk, please visit: bit.ly/3AFG1ij

Sara Siestreem (Hanis Coos, b. 1976)

Melanie Yazzie (Diné (Navajo), b. 1966)

Featured Artists:

Rick Bartow (Mad River Wiyot, 1946-2016)

Lehuauakea (Kanaka Maoli (Native Hawaiian), b. 1996)

Ryan Pierce (American, b. 1979)

Malia Jensen (American, b. 1966)

Focus Gallery Central | January 28 - August 27, 2023

The University of Oregon’s annual 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. During the 2022-23 academic year, the UO continues its reflection on Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge and the Teachings of Plants (Milkweed Editions, 2013) by Robin Wall Kimmerer. This memoir addresses humanity’s responsibility to the natural world through its author’s observations as an enrolled member of the Citizen Potawatomi Nation, 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. In Our Shared Breath: Creativity and Community, we present the work of six artists to consider our own understandings of community, generosity, responsibility to the more-than-human world, and creativity in all its forms.  Their prints, paintings, sculptures, and videos speak to individual and communal relationships with the land, water, and fellow living beings (human and non-human), and invite reflection on themes of reciprocity, storytelling, record-keeping, and lived experiences. Danielle Knapp, McCosh Curator, and Zoey Kambour, Post Graduate Curatorial Fellow in European & American art, curated this selection of works. Support for Our Shared Breath: Creativity and Community was provided by the Art Dealers Association of America Foundation.

Shared Visions

Frank Bowling

Frank Bowling was born and raised in colonial British Guyana before relocating to England in 1950. After serving in the Royal Air Force, he received a scholarship to attend the Royal College of Art alongside emerging British Pop artists such as David Hockney (b. 1937) and Derek Boshier (b. 1937). In the 1960s, Bowling moved to New York and found affinity with the American Abstract Expressionist and Color Field artists exploring the formal limits of painting. Bowling’s nearly seven-decade career has made a major impact on both American and British art history; he participated in the Whitney Biennial in 1971, was the first Black artist to be elected a Royal Academician in 2005, was awarded the Order of the British Empire (OBE) in 2008, and was knighted by Queen Elizabeth II in 2022. The painter now lives between London and New York and continues to maintain an active studio.

Penumbral Lite returns to the themes of memory, water, and shorelines that were common in Bowling’s “map paintings” of the 1960s. Though the work reads as abstract, the thin blue line stretching across the canvas evokes the ocean landscape of Guyana. Indeed, Bowling’s Afro-Caribbean roots continue to influence his post-colonial approach to abstract painting. With a base of red, yellow, and green paint—the colors of the Guyanese flag—the artist reflects upon the impact of British colonialism today. As he once said: “I still insist that I’m not a Black artist, I’m an artist. The tradition I imbibe and the cultural ramifications are British.”

Penumbral Lite was exhibited in the solo exhibition Frank Bowling: Penumbral Light at Hauser & Wirth Zurich in summer 2022, which highlighted work produced during the 2020 COVID-19 lockdown in London. It is on display at the Jordan Schnitzer Museum of Art from January 18 to April 23, 2023.

Sir Frank Bowling (British, b. 1934). Penumbral Lite , 2020. Acrylic and acrylic gel on canvas with marouflage. 119 7/8 x 72 7/8 Peterson Collection.

“I don’t think what you see or feel in the world when you open your eyes for the first time ever leaves you…. Historical memory is hardly ever erased.”

—Frank Bowling, 2017

Continuing Exhibitions

After Life: The Saints of Russian and Greek Orthodoxy Through March 19, 2023 TAKE A TOUR! bit.ly/3gG9SAd

Lonnie Graham: A Conversation with the World Through April 2, 2023

TAKE A TOUR! bit.ly/3TzHmPe

On Earth: A Fragile Existence Through April 16, 2023 TAKE A TOUR! bit.ly/3Sr1z8x

Devout Prayers: Korean Religious Paintings of the Joseon Dynasty and Beyond Through April 30, 2023

TAKE A TOUR! bit.ly/3TznJXk

Fit to Print II: Constructing Japanese Modernity in Action and Body

Through August 6, 2023

TAKE A TOUR! bit.ly/3UddPuH

The JSMA’s groundbreaking exhibition, The Art of News: Comics Journalism, is on view at the Billy Ireland Cartoon Library & Museum at Ohio State University. Curated by University of Oregon comics studies professor Katherine Kelp-Stebbins, with associate curator and director of comics studies Professor Ben Saunders, The Art of the News will be on view through May 7, 2023. The Billy Ireland Cartoon Library & Museum houses the world’s largest collection of materials related to cartoons and comics, including original art, books, magazines, journals, comic books, archival materials, and newspaper comic strip pages and clippings. READ MORE: bit.ly/3tzhqrl

Education

James Blue’s The March is a tool for anti-racism education

James Blue (1930-1980) was a University of Oregon alumnus and award-winning filmmaker whose documentaries inspired a generation of film and media enthusiasts to create meaningful stories capturing the truths of social inequities in the U.S. and abroad. In 1963, Blue was enlisted by the United States Information Agency (USIA) to film the August 28, 1963 March on Washington for Jobs and Freedom, an event credited for inciting the passage of the 1964 Civil Rights Act and the 1965 Voting Rights Act—foundational measures that changed American culture.

In honor of the 60th anniversary of the March on Washington, the JSMA will collaborate with the Knight Library to assemble curricular materials using Blue’s documentary, The March (1964). The film acknowledged the stark realities of American apartheid, visualized the promise of interracial collaboration, and won a host of international awards for documentaries.

David Frank, UO Professor Emeritus of Rhetoric; Sherri Jones, Assistant Administrator of Education; and Joie Littleton, Andrew R. Mellon Fellow, will host Teacher Professional Development Workshops to discuss the educational value of The March as a vehicle for teaching anti-racism. These workshops will include a public viewing of the 33-minute film, followed by a discussion and Q+A session with Frank and Littleton.

Visit the Online Exhibition

The March is a digital exhibition about James Blue’s documentary film on the 1963 March on Washington. Users can explore the film’s history and meaning through archival documents, interviews, Oval Office recordings, and more. The digital exhibition was led by Professor David A. Frank and co-sponsored by the Jordan Schnitzer Museum of Art and University of Oregon Libraries, with generous support from the Andrew W. Mellon Foundation.

NewArt Northwest Kids: The Places We Imagine

Albert Einstein

Education Corridor | February 23 – June 11, 2023

Young artists in grades K-12 from across Oregon were invited to participate in the 15th Annual NewArt Northwest Kids exhibition. This year’s theme, The Places We Imagine, encouraged students to share their own stories focusing on environments and surroundings, either real or imagined.

The JSMA’s Education Department created prompts and inspiration for teachers to use in the classroom so students could tell a story about how they imagine the future, illustrate an invention, or create a story from their dreams. The theme also connected to Common Core subject areas of history, social studies, science, and language arts. NewArt Northwest Kids is made possible through support from the Cheryl and Allyn Ford Educational Outreach Endowment.

"Imagination is more important than knowledge. For knowledge is limited to all we now know and understand, while imagination embraces the entire world, and all there ever will be to know and understand."

Blake Moore, Grandpa Meets Poseidon, Mixed Media, Grade 4 Charlemagne Elementary School

Development News

Member Spotlight: Saher Alladin

Saher Alladin is a senior at UO. She will be graduating in the Spring with a degree in Sociology and a double minor in Spanish and Food Studies. She has worked with Education and Visitor Services at the JSMA since 2019.

What does being a student member mean to you?

Being a student member means that I have access to a stellar collection of artworks that would otherwise be hard to get. The fact that the membership is free is amazing and a great resource for students. This membership gives me the same opportunities like anyone else in our communities. It’s one of my favorite places on campus to decompress and take a break from the stress of student life. I can come in and look at art and be transported. Being a member means that I can take a break from being a student for a moment.

What made you want to work at the JSMA?

When I moved to Eugene for college I thought the JSMA would be a fun place to work. I applied for a position in Education and Visitor Services and was accepted for both. Working with our Education Department gives me a lot of interaction with K-12 students and I use my skills in cleaning and organization. In Visitor Services I’ve gained a lot of customer service skills and am honored to be a face of the museum. I love that working at the JSMA challenges me to find solutions and that I help people have a good experience here.

What has been your favorite JSMA exhibition?

Right now, I’m really enjoying Many Wests. It’s a culmination of different mediums that tell stories from different perspectives, but are in the same realm in western America. But my favorite piece I’ve seen in the museum was from the

Black Lives Matter exhibit, Just Deserts by Josh Sands. I have a minor in Food Studies, so I thought it was a powerful piece about food insecurity and depicted how two different worlds eat. It’s a strong comment about who has access to “higher” quality foods, primarily with an emphasis on race. The piece helps you see the difference in a place people go to all the time and shows the divide that people of different races and socioeconomic status face.

How do you think the JSMA impacts the student experience?

I think the JSMA is an artistic escape for a lot of students when they’re overwhelmed. I had an experience at the desk one day when, 30 minutes to close, a student ran in wanting to get in. The student was having a bad day and was so relieved that we were still open. She mentioned that the JSMA makes her feel better when student life gets to be too much. It makes me feel good that I represent somewhere that has such a positive influence over my community.

Has working at the JSMA impacted your career goals? I want to work with people in any career I get into, but I would especially love to work with kids. I think the JSMA and my roles in Education and Visitor Services is proof that I’d be useful in those types of fields. I’ve interacted with so many people and learned about administration and how to work with fellow co-workers, the people “running the show,” and key areas like Security and Membership. I’d love for my career to go in a direction where I can be solution-oriented and with people.

Grant Announcements Leadership Council News

The JSMA Leadership Council welcomes two new student members to the advisory council: graduate representative Margaryta Golovchenko and undergraduate representative Isabella Cirillo. Margaryta Golovchenko is a second-year Ph.D. student in the art history department and focuses her research on 18th and 19 th century European art and aspires for a future career in academia. Isabella Cirillo currently works with JSMA’s Visitor Services and is pursuing her undergraduate degree in Journalism. She hopes to work in marketing and communications at a museum or gallery when she graduates. Welcome to Margaryta and Isabella!

The JSMA is honored to announce two grants that will strengthen the museum’s teaching mission and collection. The Japan Foundation recently awarded a $15,000 grant that will allow the JSMA to mat Japanese prints and purchase flat files to store them for curricular and scholarly use. The Art Dealers Association of America Foundation also recently awarded a $10,000 grant to support the JSMA’s Common Seeing exhibition Our Shared Breath: Creativity and Community.

Thank you!

Thanks to the generosity of more than 100 JSMA members and friends, Hung Liu’s Oklahoma is officially a part of the collection and will be used for teaching, exhibitions, and scholarly engagement in perpetuity at the JSMA. The acquisition was made possible by lead donors Janine and Joe Gonyea, III in honor of Janine’s service on the Leadership Council of the JSMA, and with generous support from Susy & Jack Wadsworth, Suzanne & Randy Stender, Marcy Hammock, Patti and Tom Barkin, John Weber, Anne Rose Kitagawa, Carol & Keith Richard, Elizabeth Moyer & Michael Powanda, Natalie Giustina Newlove & Robin Newlove, Julianne Newton and Barbara & Jim Walker. Additional support provided by Ina Asim, Tiana & Gunnar Buckley, Alice Carlson, Jim & Becky Carlson, Cathy Cheleen-Mosqueda & Rafael Mosqueda, Donald Elting & J.A. Destefano-Elting, Lena Freeman, Esther Harclerode

& Grayson Andrews, Erin & Brian Hart, Jill Hartz & Richard Herskowitz, Jeff & Amy Hawkins, Marcia & David Hilton, Marlene Iversen, Catherine Jedlicka, Susie Johnston-Forte, Kit Kirkpatrick, Meredith Lancaster, Anita Larson, Jamie Leaf & Kim Eschelbach, Susan Mannheimer, Lisa Mazzei, Michael & Grace McCabe, Valerie & Dennis Mickelson, Christian Moreno, Christopher & Karla Murray, Nancy Naishtat, Christin Newell, Patrick & Sarah O’Grady, Barbara Ann Perry & Robert Weiss, Bart Poston, Jane Riddle Flahiff, Camille & James Ronzio, Vanessa Salvia, Deidre & Clinton Sandvick, Beth Shershun, Lauren Suveges, Tonya Turner-Carroll & Michael Carroll, Gregory Walker, Lesley Williams, Debbie Williamson-Smith & Scott Smith, Sarah Wyer, Bernard & Jennifer Yamron, Margot Zallen, Kurt & Heather Zimmer, and other Anonymous donors.

Ellen Tykeson

Named in recognition of the JSMA’s remarkable founder, Gertrude Bass Warner (1863-1951), the Gertrude Bass Warner Award is given to an individual who exemplifies what is best about public service to the museum, including service to something beyond oneself, a willingness to contribute time, talents, treasures, and expertise, and effort that goes above and beyond expectations. The JSMA is pleased to award this honor to artist and educator Ellen Tykeson.

As a figurative sculptor with public art commissions throughout Oregon, including on the University of Oregon campus, Ellen is no stranger to service beyond oneself. Her work amplifies the voices of women from the past from Opal Whitely to Gertrude Bass Warner herself. Outside of the classroom and her art studio, Ellen served on the JSMA Leadership Council from 2016-2022, serving as Vice-President from 2018-2020, and President from 2020-2022, and as a contributing member to several Leadership Council Committees. In her time as President, Ellen advised the museum through the first two years of the COVID-19 pandemic and the rapidly changing event, program, and exhibition landscapes.

In addition to supporting key acquisitions for the museum’s collection and building connections with regional artists and galleries, Ellen has been an instrumental partner in supporting the JSMA’s education programs, particularly Arts & Healthcare. Her advocacy was imperative to the success of a recent JSMA Art Heals grant from the Tykeson Family Foundation. She also has used her connections to build a pivotal relationship with Lane County Medical Society. Ellen has been a stalwart ambassador and champion of the JSMA’s mission, community-centered programming and artistic vision, and embodies the spirit of the Gertrude Bass Warner Award in all its facets.

Past recipients of the Gertrude Bass Warner Award include Kyungsook Cho Gregor, the Dragon Puppet Theater, Don Dumond, Cheryl Ramberg Ford and Allyn Ford, Maggie Gontrum, Sue Keene, Yoko McClain, Lee Michels, Hattie Mae Nixon, Hope Hughes Pressman, Yvette and Charles Stephens, Jim Walker, and Margo Grant Walsh.

Staff Updates

Farewell and Thanks to Hannah Bastian

JSMA Museum Educator Hannah Bastian will be leaving her position on December 31, 2022 to pursue a full-time graduate program in Counseling from Oregon State University. Hannah started her work at JSMA in 2015 as a graduate student in the AAD (now PPPM) College of Design’s master’s degree in Arts and Healthcare. Hannah transitioned into a Graduate Teaching Fellow as part of a Strategic Alliance with PPPM and assisted with the first research study the JSMA embarked upon with OHSU measuring the role VTS plays on improving visual acuity and observation skills in 3rd year medical students. Her work at our beginning stages prepared us for the successful and internationally recognized Art Heals program at JSMA. We could not be in this place without her contributions.

Thank you, Hannah for your dedication to the JSMA and we wish you continued success as you embark on this next endeavor. We look forward to working with you again as a colleague in your next career path!

Welcome to the JSMA: Chris Blake, Adeline Norris, and Will Kingscott

Meet Chris Blake, JSMA’s Security and Facilities Manager. Chris is working on his degree in cyber security with the ultimate goal of becoming a certified security engineer. He served in the United States Air Force, where he spent two years building military training programs used for both the U.S. and Korean militaries. If you want to bring a smile to his face, be sure to share with him photos of your pets!

The JSMA gives a huge welcome back to Adeline Norris! Addie is a familiar face at the museum, having worked and interned here during her college years. She is excited to return to a place that has been “a very beloved, special space for me to experience art and grow as a person.” In her free time, she volunteers at 91.9 KRVM Radio and is planning on launching her own radio program soon.

Welcome to Will Kingscott , the JSMA’s new Event Production Coordinator. With a background in theatrical lighting and sound, Will has already greatly impacted the JSMA’s public programs, bringing them to a new level. His expertise has helped transition the JSMA’s video production, bringing it in-house, and soon to incorporate live-streaming. Will has a degree in theatre with an emphasis in design from Willamette University in Salem, Oregon.

UO MFA Grad Erin Langley Receives First Hung Liu Award

Along with gifting the JSMA a legacy collection of her mixed-media works, artist Hung Liu established a new endowed art prize in support of UO MFA grad students. Called the Hung Liu/Trillium Award, it provides one recent MFA graduate approximately $5,000 to support their work in any way they choose after graduation. A committee comprised of the JSMA executive director, a member of the curatorial staff, and the head of the UO Art Department will select a recipient annually, based on the annual MFA show. This year, mixed media artist Erin Langley became the first Hung Liu Award winner.

In the words of Professor Amanda Wojick, who represented the Art Department to select this year’s awardee, “The award is particularly meaningful as it comes at a critical time of anticipation and transition from the university to the 'real world'. The fact that these funds come from an artist who was so committed and bold in the face of much adversity herself, is a powerful affirmation for the selected graduating student.”

Langley reported that, "The Hung Liu Trillium Award is such a great opportunity for MFA students who want to advance their careers after graduation. The award helped tremendously with continuing my art practice post graduate school. I used the funds to purchase tools, materials, and supplies needed to transition to a new studio space, which allowed me to continue producing the work that I care about. I’m extremely grateful to be the first recipient of this award, and for all that it has afforded me."

The museum thanks Tonya Turner Carroll, Hung Liu’s Santa Fe gallerist, for supporting this year’s Hung Liu Award with a cash donation that allowed the museum to offer the award while Hung Liu’s exhibition, Remember This: Hung Liu at Trillium, was on view. Beginning next year, the award will be supported in perpetuity by a $100,000 endowed fund.

arts seen captions

1. Stephanie Stebich, director of the Smithsonian American Art Museum, Danielle Knapp, and John Weber with Angel Rodríguez-Díaz’s The Protagonist of an Endless Story, one of several loans from the SAAM’s collection featured in Many Wests.

2. Many Wests artist V. Maldonado and exhibition co-curator Danielle Knapp before Maldonado’s painting The Fallen.

3. JSMA curator Adriana Miramontes Olivas and Leadership Council Vice President Sarah Finlay at the Patron Circle Reception on October 21.

4. Stephanie Stebich shared more about SAAM’s experience collaborating with JSMA and Many Wests partners in her remarks at the Patron Circle reception.

5. Many Wests artists Michael Brophy and David Taylor in the Barker Gallery.

6. V. Maldonado gave a public talk about their work and creative practice after the JSMA’s Members Reception on October 23.

7. Many Wests artist Juan de Dios Mora led an art viewing and conversation about his works in JSMA’s collection during a “Meet the Artist” event on November 16.

8. Young visitor participates in Día de los Muertos celebrations on November 1.

9. “Ballet Folkórico Colibrí” dancers performed on November 2 during Día de los Muertos.

10. Families worked on arts and crafts during Día de los Muertos

11. Primo and Valentina Judea Lara Stephens from dance group “Familia Lara Stephens” performed traditional Mexican dance on November 1 and 2 for Día de los Muertos.

12. Day of the Dead procession throughout UO campus led on November 2 by musician and faculty member Juan Eduardo “Ed” Wolf

13 A student admires a Qianlong-period (1736-95) overglaze-enameled blue-and-white Vase with Bird-and-Flower Design during an evening visit to the Soreng Gallery.

14. During a class tour, Post Graduate Curatorial Fellow in European & American Art, Zoey Kambour, shows students the remaining pigments on the loaned medieval art objects from the Metropolitan Museum of Art: Cloisters.

15. Joie Littleton, Andrew R. Mellon Research Intern and Sherri Jones, Assistant Administrator of Education, planning for upcoming teacher professional development and public programming for James Blue’s film, The March.

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