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Currently open!
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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The JSMA will exhibit eight works by Glenn Brown, selected by new and
longtime masterworks collectors. Distinctive in Britain’s contemporary art
market, Brown revives the art historical past through delicate acts of
appropriation that build upon the legacy of Renaissance and Romantic
masters. Seven of the works exemplify the paintings and drawings that
comprise the majority of Brown’s oeuvre.
Solar Breath (2002) is a 62-minute loop of fluttering curtains that reveal
and conceal an idyllic landscape in rural Newfoundland. The work was a
result of the artist’s observations of a window of his summer cabin in
Canada. Over the years, according to Snow, “a mysterious wind performance
takes place in one of the windows, about an hour before sunset.”
This unusual exhibition is a striking example of the museum as medium.
Rodrigo Valenzuela’s new landscape portraits, his selection of works from
the JSMA's collection, and his unconventional manner of displaying these
objects, ask us to think about the various possibilities of putting work
(labor and art) “in its place.”
Drawing from the major gift of eighty-five photographs by Weegee (Arthur
Fellig), given to the JSMA in 2016 by Ellen and Alan Newberg, this thematic
exhibition will present a selection of black-and-white photographic prints.
Discursive features work—ranging from functional to sculptural, from
performance to site-specific—created by UO faculty and visiting artists who
participated in the 2016 Summer Craft Forum at the UO. During this two-week
event, the participants – all of whom work in craft media, such as
ceramics, metalsmithing, fibers, and printmaking – occupied UO studios to
make art.
This exhibition investigates the politics of hair, racialized beauty
standards, hair rituals, and the differences in expectations between men
and women with regard to hair. Especially relevant in the current
politically and culturally charged climate and relevant to issues of
access, equity, and inclusion, Don’t Touch My Hair explores how beauty is
represented within and outside one’s community.
Twentieth-century architect Herman Brookman (1891-1973) designed several
of Oregon’s most recognizable landmark structures. Organized by and first
presented at the Oregon Jewish Museum and Center for Holocaust Education
(OJMCHE) in Portland in summer 2017, this exhibition of forty drawings
focuses on one of Brookman’s masterpieces, Temple Beth Israel in Portland.
This exhibition highlights selections from the European collection by
showcasing fourteen black-and-white works by some of the leading figures in
the history of photography. The works on view span the period from 1851
through 1969, from the amateur photographer and Pictorialist Eduard
Loydreau’s Hangars sous la neige to the documentary realism of Henri
Cartier-Bresson’s snapshot Rue Mouffetard.
Coeta and Donald Barker Changing Exhibitions Gallery
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This extensive body of work in painting, drawing, and collage by Eugene,
Oregon-based artist Keith Achepohl was inspired by three weeks spent at the
Morris Graves Foundation Artist Residency in 2011.
In recognition of the importance of Morris Graves’s work and home to Keith
Achepohl, we asked Achepohl if he would curate a companion exhibition. This
selection, from more than 500 drawings by Graves (American, 1910-2001) in
our collection, celebrates Graves’s symbolic and highly personal use of
vessel imagery over the course of his life.
The “Circle of Animals/Zodiac Heads” series is internationally-acclaimed
artist AI Weiwei ’s reinterpretation of the twelve bronze animal heads
representing the traditional Chinese zodiac that once adorned the famed
fountain-clock of the Yuanming Yuan (Old Summer Palace), an imperial
retreat outside Beijing. The work will be on view in the JSMA’s North
Courtyard.
Featuring more than fifty superlative works from the distinguished private
collection of Dr. Lee and Mary Jean Michels, the exhibition explores this
transitional moment in Japanese history through woodblock prints.
Irish-born artist Barbara MacCallum uses the scientific papers of her
husband, Robert Johnson, an engineering professor at the University of
Virginia to create beautiful, powerful, and provocative works of art.
Composed of scientific papers, polymer mediums, wire screening, Irish linen
thread, and other materials, the art commands space and creates an
environment both otherworldly and familiar.
