The JSMA is closed from June 30 - July 8, 2025. We will reopen on Wednesday, July 9 at 11 a.m.
Currently closed
Monday: Closed
Tuesday: Closed
Wednesday: 11:00 am-8:00 pm
Thursday: 11:00 am-5:00 pm
Friday: 11:00 am-5:00 pm
Saturday: 11:00 am-5:00 pm
Sunday: 11:00 am-5:00 pm
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To celebrate the publication of “Morris Graves: Selected Letters,” edited by independent curator Vicki Halper and retired Curator of American and Regional Art Lawrence Fong, a small selection of works by this major American painter and key member of the Northwest School will be on view in the Gilkey Center
In conjunction with Eugene Opera’s presentation of Dead Man Walking, the JSMA invited Corvallis-based artist Julie Green to present a selection of The Last Supper, a series of some 500 porcelain painted plates that illustrate final meal requests of U.S. death row inmates and a video of final meal requests.
Presented here are cathedrals and churches built from the 11th to the 20th centuries in a vast array of architectural styles in locations as diverse as St. Petersburg, Russia, and Unalaska, Alaska—a small city 800 miles southwest of Anchorage in the remote Aleutian Island chain.
Coeta and Donald Barker Changing Exhibitions Gallery
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In the heady and hallucinogenic days of the 1960s and ’70s, a diverse range of artists and creative individuals based in the American West – from the Pacific coast to the Rocky Mountains and the Southwest – broke the barriers between art and lifestyle and embraced the new, hybrid sensibilities of the countercultural movement.
This exhibition of German Expressionist works, including prints by Wassily Kandinsky, Käthe Kollwitz, Franz Marc, Emil Nolde and features the recently restored double-sided painting Ballet Dancers (recto)/Two Women in Lamplight (verso), which the artist Max Pechstein painted in 1912.
Violet Ray created his unique 1960s ad collage series Advertising the Contradictions, documented in the West of Center catalog, by inserting disturbing new imagery into real advertisements to reveal the hidden meaning and subconscious values of consumer culture.
Organized in collaboration with UO Department of History Professor Ina Asim to coincide with the international conference Chinese Foodways (May 8-9), and co-organized by Professor Dan Buck, the exhibition features ritual food-related objects, ranging in date from the 3rd century B.C.E. to the early 20th century, from the collection and on loan from distinguished California collections.
Born in Camagüey, Cuba, in 1921, Emilio Sanchez credited the landscape of his youth with developing his life-long interest in the effects of light and shadow on color. Although his early works explored figurative themes, Sanchez began his best known series of paintings and prints highlighting houses and other types of architecture in the 1960s.
Coeta and Donald Barker Changing Exhibitions Gallery
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Carl Morris was commissioned by the Oregon Centennial Exposition to create mural-size paintings celebrating the state’s religious histories. In eight weeks, he painted nine murals, arguably his most accomplished paintings.
Born in Tehuantepec, Oaxaca, Mexico, Rolando Rojas is inspired by the legends, stories, and myths passed down from the ancestors of the people of Tehuantepec, who believed that they descended from mystical trees and animals.
Coeta and Donald Barker Changing Exhibitions Gallery
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Lesley Dill is one of the most prominent American artists working at the intersection of language and fine art. Her elegant sculptures, art installations, mixed-media photographs, and evocative performances draw from both her travels abroad and profound interests in spirituality and the world’s faith traditions.
The Female Figure: Artistic Multiplicities draws from works in the collection, supplemented with special loans which present women as complex, nuanced individuals, as well as potent vehicles for symbolic meaning.
The exhibition surveys the history of photography from its origins as a new medium in the early 19th century through its diverse manifestations in contemporary art and society today.
Charles M. Schulz’s PEANUTS is not only the most successful newspaper comic strip in the history of the form; it also represents one of the more remarkable achievements in the history of twentieth-century artistic endeavor, in terms of qualitative consistency and sheer longevity. The strip debuted on October 2, 1950, and ran continuously for almost fifty years
