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China: The New Wine Frontier

China is now the world’s largest market for red wine, having more than doubled consumption in the last few years, while consumption has dropped significantly in France during the same period. To meet the local demand, wine areas have been developed in the arid north of China. Join Janis Miglavs for a photographer’s journey through parts of China’s new wineries, and get a behind-the-scenes peek at the booming industry. Refreshments served

Kids Create! Eugene

Kids and families are invited to engage in the arts through hands-on projects and performances. Kids Create! Eugene is a special day of youth arts explorations which included creative art projects with live performances. Bring a picnic lunch and spend the day at the Jordan Schnitzer Museum of Art. Free admission for the whole family! Lane Transit District is providing free transportation to campus!

Art in the Attic

Art in the Attic, an annual fundraiser for the Jordan Schnitzer Museum of Art, returns to the Oakway Center Heritage Courtyard! Art and décor from homes throughout the community will be on sale with all proceeds benefiting the JSMA’s enriching educational programs. Organized by Gourmet Group (Friends of the JSMA) fundraising group, Art in the Attic gives you the chance to buy previously owned treasures at great prices.

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From the Heart: The Photographs of Brian Lanker

January 23, 2016 to April 24, 2016

More than four years in the making – since Brian Lanker died of pancreatic cancer on March 13, 2011, at the age of 63 – this retrospective exhibition accompanies a major book of the artist’s photography, with reflections and reminiscences by his colleagues, friends, and admirers. Drawn primarily from the images in the publication, the exhibition features Lanker’s extraordinary photographs of rural Kansas, sports, the arts, noted African American women, shoes, and more. 

In 1970, Clarkson first hired Lanker at the Topeka Capital-Journal, which had already developed an impressive reputation as a training ground for the finest (photo) journalists. During his tenure there, Lanker was twice named Newspaper Photographer of the Year and, in 1973, he received a Pulitzer Prize for feature photography for his series on natural childbirth. It was an unusual way to meet one’s future wife, but for Lanker, not only was his own life filled with exceptional experiences, he had a rare gift of making all his subjects feel very special. In her article on Lanker (March 19, 2011), The Oregonian writer Kristi Turnquist noted: “Lanker leaves behind a body of work that revolutionized his art form. But his friends, family and colleagues around the globe say they will remember not only his exceptional eye and artistic ability, but also his passion for living, vast spirit and boundless energy.”

In 1974, Clarkson encouraged Lanker to accept a job at The Register-Guard in Eugene, first as photographer and later as director of graphics, where he continued to set new standards for journalism and photographic storytelling. He left in 1982 to pursue free-lance work for such magazines as Life, National Geographic, and Sports Illustrated. He also took on three personal book/exhibition projects. The first, I Dream a World: Black Women Who Changed America (1989) —Lanker’s first collaboration with Maya Angelou -- featured portraits of 75women in academia, the arts, business, politics, sports and other fields and was at that time the largest attended exhibition at the Corcoran Gallery in Washington, D.C.  Shall We Dance (2008; foreword by Maya Angelou) began as a photo essay for National Geographic and expanded to become a book that explored dance in cultures throughout the world. 10,000 Years of Shoes (2011; Museum of Natural and Cultural History, Eugene), one of his last project’s, was completed following his death.

In addition to the photographs, From the Heart features the audio-visual educational program, Images of Man, a series of eight slide shows each featuring the work of different photographers, including Lanker, as well as W. Eugene Smith, Henry Cartier-Bresson, and Eliot Porter. Lanker’s 1998 documentary film, They Drew Fire: Combat Artists of WWII, a highly acclaimed PBS broadcast, will also be shown.

From the Heart: The Photographs of Brian Lanker  is made possible by Rich Clarkson Creative, the Coeta and Donald Barker Changing Exhibitions Endowment, The Harold & Arlene Schnitzer CARE Foundation, the Oregon Arts Commission and the National Endowment for the Arts, and JSMA members.

Related Programs

“From the Heart: The Photographs of Brian Lanker” is made possible by  Clarkson Creative, the Coeta and Donald Barker Changing Exhibitions Endowment, The Harold & Arlene Schnitzer CARE Foundation, the Oregon Arts Commission and the National Endowment for the Arts, and JSMA members. - See more at: http://jsma.uoregon.edu/pulitzer-prize-winning-photographer-brian-lanker...
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Aliens, Monsters, and Madmen: The Art of EC Comics

May 14, 2016 to July 10, 2016

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Aliens, Monsters, and Madmen celebrates the achievements of the most artistically and politically adventurous American comic-book company of the twentieth century: Bill Gaines’s Entertaining Comics, better known to fans all over the world as EC. Specializing in comic-book versions of popular fiction genres—particularly Crime, Horror, War, and Science Fiction—the company did far more than merely adapt the conventions of those genres to the comics medium.  In the case of the now legendary Science Fiction and Horror titles, Weird Science and Tales from the Crypt, the creators at EC actively extended those genre conventions, while simultaneously shaping the imaginations of a subsequent generation of writers and filmmakers, such as Stephen King, George Lucas, John Landis, George Romero, and Steven Spielberg.

EC also broke new ground in the realm of satire as the publisher of MAD, an experimental humor comic that parodied the very stories that were elsewhere its stock in trade. EC Comics offered a controversial mix of sensationalism and social provocation, mixing titillating storylines and imagery with more overtly politically progressive material. Alongside comics about beautiful alien insect-women who dine on unsuspecting human astronauts, for example, they also tackled subjects that other popular media of the era avoided, including racism, corruption, and police brutality.  As a result, the company attracted the disapproval of parents, politicians, and moralists everywhere, and was ultimately driven out of business as the result of a conservative “anti-comics” backlash in 1954. (Only MAD survived, by becoming a magazine in the mid-1950s; it remains in print today.) 

The exhibition is curated by Ben Saunders, professor, Department of English. Saunders curated the JSMA’s previous comics exhibitions, Faster Than A Speeding Bullet: The Art of the Superhero (2009) and Good-Grief!: A Selection of 50 Years of Original Art from Charles M. Schulz’s Peanuts (2012).

 “EC comics and its artwork now constitute highly valued collectibles,” says Saunders. “This show will be built around key examples of the original production art — unique and rarely seen objects of extraordinarily detailed craftsmanship by some of the most influential comics artists of the 20th century.”

Aliens, Monsters, and Madmen: The Art of EC Comics is sponsored by the Coeta and Donald Barker Changing Exhibitions Endowment, The Harold and Arlene Schnitzer CARE Foundation, a grant from the Oregon Arts Commission and the National Endowment for the Arts, a federal agency, Imagination International, Inc., Office of Academic Affairs, Oregon Humanities Center’s Endowment for Public Outreach in the Arts, Sciences, and Humanities, Philip and Sandra Piele, UO Comics and Cartoon Studies Minor, UO College Scholars Program, and JSMA members.

Get Aliens, Monsters, and Madmen: The Art of EC Comics marketing materials for your collection!

e Ford Family Fund of the Oregon Community Foundation, Arlene Schnitzer, the Coeta and Donald Barker Changing Exhibitions Endowment, The Harold and Arlene Schnitzer CARE Foundation, a grant from the Oregon Arts Commission and the National Endowment for the Arts, a federal agency, the Ballinger Endowment, Philip and Sandra Piele, and JSMA members. - See more at: http://jsma.uoregon.edu/Bartow#sthash.XMAJDKHv.dpuf
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Expanding Frontiers: The Jack and Susy Wadsworth Collection of Postwar Japanese Prints

October 03, 2015 to January 03, 2016

In 2012, Jack and Susy Wadsworth donated 157 modern and contemporary Japanese prints to the JSMA. This remarkable collection, featuring woodblocks, intaglios, lithographs, screenprints, and mixed-media works by seventy-seven Japanese and Western artists, significantly augments the museum’s capacity to teach about Japanese graphic art from the late twentieth- and early twenty-first-centuries. The collection showcases contemporary Japanese artists not just as inheritors of the much-celebrated Edo-period (1615-1868) woodblock tradition, but as sophisticated international masters of various printmaking techniques. Curated by Anne Rose Kitagawa, JSMA Chief Curator of Asian Art and Akiko Walley, Maude I. Kerns Professor of Japanese Art, Department of the History of Art and Architecture, this special exhibition explores a range of contemporary print techniques – aquatint, etching, intaglio, lithography, mezzotint, silkscreen, stencils, and woodblock printing – as well as a great range of subject matter.

Coinciding with the preparation for this exhibition, Professor Walley offered two courses geared for undergraduate and graduate students. In fall 2014, with generous support from the Tom and Carol Williams Fund for Undergraduate Education, Professor Walley taught a class in collaboration with the JSMA and Charlene Liu, Associate Professor of Printmaking, and Mika Aono, Printmaking and Fibers Studio Technician, both members of the UO’s Department of Art. That course explored the history of contemporary Japanese prints with a focus on their techniques. Students learned about prints by carefully scrutinizing examples from the Wadsworth Collection, through lectures and readings, and by learning to make their own prints using the four major techniques of relief, intaglio, lithography, and screenprinting.

In winter 2015, Professor Walley and Chief Curator Anne Rose Kitagawa team-taught a museum-based course in which sixteen undergraduate and graduate students studied Japanese contemporary prints along with aspects of museum curatorship and exhibition planning, design, and installation. In addition to focusing on the Wadsworth prints in weekly research assignments and class discussions, students learned from museum professionals, print dealers, and collectors in a series of guest lectures and field trips. The fruits of the research that the students conducted in these two classes form the core of this exhibition. Indeed, the final installation reflects many of the ideas that they raised in discussions and assignments, and a number of the students contributed label copy and catalogue entries based on the original research they conducted for their final projects. With generous support from the WLS Spencer Foundation, a number of the students further deepened and refined their research in order to provide public tours of the exhibition.

The exhibition, catalogue, and accompanying programs are made possible with the generous support of the WLS Spencer Foundation.  Additional support has been provided by the Coeta and Donald Barker Changing Exhibitions Endowment, The Harold and Arlene Schnitzer CARE Foundation, Arlene Schnitzer, The Oregon Arts Commission and the National Endowment for the Arts, a federal agency, and JSMA members.

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Catalina Delgado Trunk (American, born 1945, Mexico)
Pueblo del Maiz (People of the Corn)
Hand cut paper over paper
26 ½ x 30 inches
Collection of the artist

Catalina Delgado Trunk (American, born 1945, Mexico)
Voces de mis Antepasados (Voices of My Ancestors)
Hand cut paper over paper
30 ¼ x 35 ¼ inches
Collection of the artist

Voces de Mis Antepasados/Voices of My Ancestors: The Papercuts of Catalina Delgado Trunk

September 10, 2015 to December 06, 2015

Catalina Delgado Trunk, born in Mexico City in 1945, is of Nahuatl and Culhuacan descent on her father’s side. She grew up in Coyoacán, one of the capital’s wealthiest neighborhoods, as well as one of the most vibrant, with artists such as Diego Rivera and Frida Kahlo also calling it home. As a girl, Delgado Trunk studied dance at the Academia de Ballet in Mexico City and the Royal Academy of Dance in London. She also learned French at a young age and eventually earned her degree in French Literature from the University of Texas. After emigrating to the United States and raising a family, Delgado Trunk reenrolled in school at the age of forty-nine—this time pursuing the visual arts and taking the opportunity to engage more fully with her native Mexican heritage. Drawing on the rich tradition of cut paper crafts (or papel picado) in Mexico, Delgado Trunk creates intricate works that tell the stories of pre-contact indigenous cultures as well as treating more contemporary subjects.

The exhibition is made possible through the generous support of Drs. Elizabeth Moyer and Michael Powanda.

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Olga Volchkova
Saint Calla Lily
Acrylic on panel
20 x 16 inches
Collection of the artist
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Olga Volchkova: The Nature of Religion

September 16, 2015 to June 13, 2016

Trained as an icon painter and conservator, Russian artist Olga Volchkova uses her knowledge of Orthodox iconography and her love of botany to create provocative paintings that explore the history of florae. Through intensive research about each plant specimen she portrays, Volchkova creates visual narratives that explore the mythologies humans have created around plants, while expertly rendering the form of each leaf, petal, and tendril. She depicts all manner of plant life: decorative types such as lilies, peonies, and roses; edible specimens such as vegetables, fruits, herbs, and plants with purported medicinal properties; as well as potentially toxic examples such as belladonna and datura. Often quoting passages from medieval manuscripts along the borders of her paintings, she succinctly details each plant’s long history and illustrates significant moments.

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