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In 2017 painter Michael Brophy visited the decommissioned nuclear production complex at Hanford, Washington. He observed its B Reactor, the world’s first full-scale plutonium-producing reactor, the former townsites and remnants of the area closed off when Hanford’s facilities were established by the U.S. Government in 1943, and a landscape forever changed. In a reference to the site’s nine nuclear reactors, now offline and cocooned in concrete, Brophy made nine paintings to document and process his experience and bring this history to light.
Presented as part of artist Steve Prince’s multi-visit residency with his partner and collaborator Leah Glenn, Kitchen Table Talk presents a selection of drawings, prints, and installation that reflect on the conversations that occur around the kitchen table.
This exhibition features the renowned Tattoo series created by Chinese artist Qiu Zhijie (born 1969), one of the most prolific and influential artists, critics, curators and educators in China today. Qiu Zhijie began the Tattoo series in 1994. He, himself, is the bare-chested, expressionless figure in all the photographs. In the article “The Limit of Freedom”, Qiu remarked:
Drawing upon the comprehensive Calvin and Hobbes collection held by the Billy Ireland Cartoon Library and Museum at Ohio State University, the JSMA is proud to present the first exhibition of original Calvin and Hobbes art displayed outside of the Billy Ireland Museum itself.
Coeta and Donald Barker Changing Exhibitions Gallery
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This exhibition examines artistic responses to violence instigated by state regimes across the Americas to disclose censored narratives, argue for the importance of artmaking as an act of memory and witnessing, advocate research, and seek justice.
Emilio Sánchez (b. 1921 Camagüey, Cuba – 1999 New York) and Paloma Vianey (b. Ciudad Juárez, México) investigate line, color, light, and space in their formal studies, reflecting an interest and passion for architectural motifs. Adopting the visual vocabulary of photography and painting, their cropped views reveal fragmented narratives balanced by vibrant warm colors and brightly lit vistas.
Born and raised in Portland, Toedtemeier was a fixture in the Oregon
cultural community until his untimely passing in 2008 at the age of 61. The
exhibition highlights the range of Toedtemeier’s photographic work.
The University of Oregon's Jordan Schnitzer Museum of Art celebrates 16 years of NewArt Northwest Kids, our annual K–12 juried student exhibition. This year’s theme, inspired by Strange Weather: From the Collections of Jordan D. Schnitzer and His Family Foundation, asked students to think creatively about the fragility of earth and human relationships. Students were invited to use their imagination and problem-solving skills to represent solutions for improving our world, including addressing climate-based challenges in our present and future.
Artists, Constellations and Connections: Feminist Futures has been
organized by the JSMA and seven members of the UO Department of Art as part
of the 50th anniversary of the Center for the Study of Women in Society.
Placing current work by studio art faculty alongside and in conversation
with works they have selected from the Jordan Schnitzer Museum of Art’s
permanent collection, the exhibition ex, plores critical questions about
artmaking, history, the future, and feminist models of intersectional
inquiry in the current moment of great social, political, and environmental
change.
JSMA’s eighth annual Common Seeing exhibition is presented in partnership with the UO Center for the Study of Women in Society (CSWS) as part of the campus-wide, year-long “Feminist Futures” programming in honor of the CSWS’s 50th anniversary. My Body, My Choice? considers bodily autonomy, reproductive justice, and gendered and racialized experiences in healthcare through the works of three , contemporary artists. Nao Bustamante, Judy Chicago, and Alison Saar address these issues of sexual and reproductive health in wide-ranging bodies of work spanning forty years. They draw our attention to complicated and problematic histories to advocate for a more equitable future. Chicago stated in a 2019 interview about her Birth Project, “I do not think art can change the world. I think art can , educate, inspire, [and] empower people to act.”
In conjunction with the 50th anniversary of the University of Oregon’s Center for the Study of Women in Society, the exhibition “Woman was the Sun” celebrates Japanese women through paintings, calligraphy, prints, sculpture, and decorative art from the permanent collection. The artists represented range from 19th-century Buddhist poet, calligrapher, and ceramicist Otagaki Rengetsu (1791-1875) through cutting-edge contemporary artists Kusama Yayoi (born 1929) and Aoshima Chiho (born 1974), and include calligrapher Shinoda Tōkō (1913-2021), printmakers Minami Keiko (1911-2004), Iwami Reika (1927-2020), Oda Mayumi (born 1941), Betty Nobue Kano (born 1944), and Ozeki Ritsuko (born 1971), and prints by three generations of Yoshida artists: grandmother Yoshida Fujio (1887-1987), mother Yoshida C, hizuko (1924- 2017), and daughter Yoshida Ayomi (born 1958). The installation also features female subjects such as religious and literary figures, warriors, heroines, villains, and demons, along with a selection of Japanese artworks intended for curricular use.
Glenn Ligon: From the Collections of Jordan D. Schnitzer and His Family
Foundation brings together works on paper by the influential artist that
explore how constructions of Blackness in the United States infuse popular
culture, literature, and history.
Coeta and Donald Barker Changing Exhibitions Gallery
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Strange Weather features contemporary art works which illuminate and reframe the boundaries of bodies and the environment. The artworks included in the exhibition span five decades, from 1970-2020, and are drawn together for how they creatively call attention to the impact and history of forced migrations, industrialization, global capitalism, and trauma on humans and the contemporary landscape.
In celebration of the 50th anniversary of the University of Oregon’s
Center for the Study of Women in Society (CSWS), the museum has organized a
special exhibition entitled Half the Sky: Women in Chinese Art, referencing
by Chairman Mao Zedong’s 1968 quotation “Women hold up half the sky,”
meaning that they are the equal of men. The varied works on display attest
to the remarkable resilience and , creativity of women despite their
relatively low status in traditional Chinese society due to Confucian and
Buddhist value systems that deemed them to be inferior.
