Portland-based architect Pietro Belluschi (1899–1994) was one of the leading proponents of Modernist architecture in the Pacific Northwest. Born in Italy, Belluschi joined the Portland firm of A.E. Doyle in 1925, quickly rising up the ranks and eventually buying out the remaining partners in 1943. He went on to design more than 1,000 buildings, many of them in Oregon, including the main building of the Portland Art Museum (1932), the Equitable Building in Portland (1944–47), and the Central Lutheran Church in Eugene (1959). Organized by Pietro’s son, architect Anthony Belluschi, for the Oregon Historical Society in 2012, this exhibition features models built by University of Oregon students of ten Belluschi buildings located across Oregon. The exhibition is made possible in part by a JSMA Academic Support grant.

In the wake of a recent decision by the Constitutional Tribunal in the Dominican Republic, many Dominican youth of Haitian descent are unable to go to school, start a bank account, or get married for lack of proper documentation. This exhibition presents photographs by members of Reconoci.do, an organization of Dominican youth of Haitian descent that is struggling to reinstate their rights as nationals. The Spanish word “reconocido” translates to “recognized” or “acknowledged” in English. The photographs document the increasingly hostile situations that Dominicans of Haitian descent and Haitian migrants face on a daily basis as they seek recognition from the state.

Organized by Professors Lanie Millar (Romance Languages), Alaí Reyes-Santos (Ethnic Studies), and Juan Eduardo Wolf (Ethnomusicology), this project is funded by an Academic Support Grant from the Jordan Schnitzer Museum of Art; the Office of Equity and Inclusion; the Coalition Against Environmental Racism; the Women of Color Project at the Center for the Study of Women in Society; the Center for Latino/a & Latin American Studies; the Global Studies Institute, Office for International Affairs; the Wayne Morse Center; the Departments of Anthropology, Ethnic Studies, International Studies, and Romance Languages; and Community Consulting.

Sculptures and works on paper from the artist’s estate show the breadth of former A&AA professor Jan Zach’s talents. Trained as a painter in his native Czechoslovakia, Zach was an internationally recognized artist when he joined the UO faculty in 1958. Although he was especially well-known for his large sculptures carved from wood or made of thin sheets of stainless steel, Zach was accomplished in many media. This exhibition includes three-dimensional works alongside paintings and drawings from his time in Brazil, Canada, and the United States.

Inspired by the special loan of Hero: Portrait of the Irish Celtic Temperament and the museum’s recent acquisition of Irish Goat, this selection of paintings and works on paper showcases Morris Graves’s goat imagery from the 1950s. These animals were of particular interest to Graves during a period of respite in the Irish countryside (1954–64). The landscape and climate in Ireland reminded Graves of his native Pacific Northwest, and he drew from the local livestock, wildlife, and folklore for inspiration. Graves’s images of goats—which ranged from careful studies to imaginative fantasy drawings—reveal his fascination with a commonplace creature.

Drawn entirely from the collections of the JSMA, this exhibition explores different modes of representing architecture. From prints to drawings to photography, the works on view explore the ways in which artists have rendered three-dimensional space in two-dimensional form. This exhibition is organized in conjunction with ARH 607, “Representing Architecture,” a graduate-level class taught by Professor Maile Hutterer in the Department of the History of Art and Architecture.

Advocating for the importance of the arts in schools, the Jordan Schnitzer Museum of Art has partnered with Edison Elementary School for the past year exploring the relationship between sustainability, food, and art. The museum offers in-class projects for 3^rd grade students at the school, and after school classes for K-5^th grade Edison students take place at the museum.

Over the past term, students have been exploring healthy eating and colorful food inspired by Edison’s School Garden Project and the work of Karla Chambers, artist and owner of Stahlbush Farms. The students plant and harvest organic fruit and vegetables from the school garden, which are then incorporated into their school lunches. In alignment with the garden project, Chambers highlights nutrition education in an effort to inspire children to make healthier food choices. Students have learned how the color of food can relate to its nutritional value, such as brown and white fried food versus a rainbow of healthy colors. During this exhibition, students’ artwork will be displayed alongside banners created by Chambers that depict the color of health and nutrition.

Students are learning that they are what they eat through self-portraits comprised of vegetable shapes, textures, and colors, with emphasis on Chambers’ focus on farming and food in her paintings and how her paintings are self-portraits of her history. Some of the projects in which the after school students have been involved include learning how healthy food choices can relate to the color wheel. Drawing and painting their favorite and healthiest meal, the after school students have constructed a table setting of their dream meal depicting their understanding of a healthy meal.

During the exhibition, Edison students will participate in an all-day event at the museum to further delve into discussion about the healthy food choices they can make and discovering how they will change their eating habits over time.