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JSMA founder Gertrude Bass Warner lived in China for many years, amassing a collection with special interest in art of the Qing dynasty (1644-1912). She bequeathed enviable riches to the museum, among them some with fine Daoist iconography. Next to the teachings of Confucius, Daoism is one of the two indigenous philosophical traditions of China that have evolved over more than 2,000 years.
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.
