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Schnitzer Cinema: "Wavelength" and a Skype conversation with Michael Snow

Artist Michael Snow, whose “Solar Breath (Northern Caryatids)” installation is on view in the Artist’s Project Space, will discuss that work and his classic 45-minute 16 mm film from 1967, “Wavelength,” which will screen just prior to the Skype discussion. According to Snow, “I wanted to make a summation of my nervous system, religious inklings, and aesthetic ideas.

"Don’t Touch My Hair" Community Reflections

Please join us for a facilitated discussion as well as an opportunity to evaluate and narrate the impact of “Don’t Touch My Hair: Expressions of Identity and Community” (DTMH). Co-curator and graduate student, Kristen Clayton invites our on-and-off campus communities and exhibition contributors to participate in a reflective discussion about DTMH as an exhibition and the greater implications and topics addressed through the exhibition. 

 

 

Rodrigo Valenzuela: Work in its Place

April 25, 2018 to August 05, 2018

This unusual exhibition is a striking example of the museum as medium. It reminds us that the accumulation and juxtaposition of objects can be a dynamic force for understanding and that museums can be laboratories for experimentation. Rodrigo Valenzuela’s new landscape portraits, his selection of works from the Jordan Schnitzer Museum of Art’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.”

The JSMA invited Valenzuela to use its collection as working material. He selected images of bucolic landscapes, quintessential Americana, manual labor, and the overwhelming magnificence of vast expanses in nature, sometimes referred to as the sublime. All of these works come out of a predominantly white, male, Eurocentric tradition in the visual arts. Valenzuela and the curator arranged these works on the inside of a wooden structure, which he calls “an enclosed tower.” Explaining his intent for creating a barrier around art and information, he states, “I want to create a piece that makes direct reference, metaphorically and physically, to the access that we are provided in education and within institutions to be part of hegemonic discourses.”

Museum galleries are typically neutral spaces for objects where visitors can easily obtain knowledge. Here, the scaffolding (made mostly with recycled wood from a previous exhibition) limits access to art and information. On the inside of the structure is a unique world of objects contained in one room, like an inaccessible cabinet of curiosities. For the artist, this space could allude to a museum’s custodial view of history or, perhaps, to the concealed histories of museum objects.

Valenzuela’s new work, made to dialogue with his selections from the JSMA’s collection, hangs on the outside of the structure. He photographed Zabriskie Point in Death Valley, printed his romantic landscape portraits on a laser printer, and applied each photographic image to the surface of a canvas. Valenzuela’s intense hand scrubbing to remove the paper from the canvas distresses the transferred image and offers another reading of “work in its place.”

Michelangelo Antonioni’s 1970 film Zabriskie Point, a continuous flow of contradictions colliding into one another, also inspired Valenzuela’s views of nature that beckon us, but at the same time discourage us from entering. Visitors can catch an occasional glimpse of the art inside the enclosed tower through the gaps between his works. As the installation challenges, interrupts, and obstructs the visitor’s gaze, Rodrigo Valenzuela: Work in its place questions the perceptual, cognitive, and discursive parameters of art and institutional authority.

Rodrigo Valenzuela (b. 1982, Santiago, Chile) is an assistant professor in the art department at UCLA. He completed an art history degree at the University of Chile in 2004 and came to the United States in 2005. For about a decade, he worked in construction while making art. He returned to school and received his MFA in 2012 from the University of Washington. Made possible with the generous support of the Hartz FUNd for Contemporary Art, the exhibition was organized by Cheryl Hartup, Associate Curator of Academic Programs and Latin American Art, with practicum student Erika Milo (BA, Arts and Administration), and additional support from the UO School of Art + Design and Upfor Gallery.

 

Glenn Brown (British, born 1966). Trivial Pursuit, 2017. Oil paint over acrylic on bronze sculpture. Peterson Family Collection

Glenn Brown / Transmutations: What’s Old is New Again

May 18, 2018 to August 19, 2018

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. Thanks to support from the Peterson Family Collection, a catalog accompanies the exhibition and includes an essay by Emily Shinn, a graduate student in the History of Art and Architecture.

 

Rufino Tamayo (Mexican, 1899-1991), Hombre con bastón (Man with Walking Stick), 1979. Mixograph. 29 3/4 x 21 3/4 inches. The Elizabeth Cole Butler Graphic Arts Collection, Bequest to the Museum, 2004

Aurora Molina, (Cuban, born 1984). Trump, 2016. Felted silk on linen. Purchased with Funds from the Patricia Noyes Harris Bequest, 2016:56.2

Jim Riswold (American, born 1957). Pastilli Chairman Mao, 2006. Color digital print on paper, 60 x 41 inches. Gift of Jim Riswold, 2010:23.1

Albrecht Dürer (German, 1471-1528). Sun of Righteousness (Sol Justitiae), circa 1499-1500. Engraving on laid paper, 4 1/8 x 3 1/16 inches. Gift of Dr. Robert and Margaret Leary, 2012:18.13

MORI Yoshitoshi (1898-1992). Seated Fudō Myōō. Japanese; Shōwa period, 1981. Kappazuri (stencil print); ink and color on paper, edition 3/50, 35 1/2 x 27 1/4 inches. Gift of H.P. Lin in Memory of Dick Easley, 2017:20.

A Decade of Collecting

June 02, 2018 to September 02, 2018

With the appointment of Jill Hartz as executive director of the museum, nearly ten years ago, the JSMA’s collections have grown in breadth and quantity in support of its mission to serve as both a teaching museum and a cultural center for our larger community.  Since then, four curators have joined the staff: Anne Rose Kitagawa, our first full-time chief curator of Asian art; Danielle Knapp, McCosh Associate Curator; Cheryl Hartup, Associate Curator of Academic Programs and Latin American Art; and Richard Herskowitz, Curator of Media Arts.  A few years ago we created our first permanent European gallery.  Expertise, opportunity, and ambition are a formidable combination, and thanks to this strong curatorial team, faculty engagement, and generous collectors and museum supporters, our collections have grown stronger and broader, as evidenced in this choice selection. 

A Decade of Collecting is made possible with the generous support of the Coeta and Donald Barker Changing Exhibitions Endowment; the Harold and Arlene Schnitzer CARE Foundation; the Oregon Arts Commission and the National Endowment for the Arts, a federal agency; and JSMA members.

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