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Tarrah Krajnak, Self-Portrait as Weston with Light Meter/with Test Charis Wilson on Darkroom2 Cover, 1978/2020, from Master Rituals II: Weston’s Nudes, 8x10 Silver Gelatin Print, 2020.

Artists, Constellations, and Connections: Feminist Futures

January 27, 2024 to June 17, 2024

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 explores critical questions about artmaking, history, the future, and feminist models of intersectional inquiry in the current moment of great social, political, and environmental change.  

The participating women faculty approached this as a collaborative and collective project. The works in the exhibition are conceived of as a constellation of connections —connections between peer artists responding in diverse ways to our moment, and connections to relevant artists and artworks of the past.  Some of the artworks chosen from the JSMA collection, such as the OTAGAKI, Rengetsu (Japan 1791-1875) bowl, represent echoes and affinities with the faculty work and speak to the power of art to collapse time and space. Artworks provide an uncanny bridge to other moments of lived experience and assert ties of kinship. Other selected artworks, such as the Edward Weston photograph, function as antagonists, as a catalyst to interrogate more inclusive and complex experiences.

A multiplicity of questions, convictions, and uncertainties is evident in the faculty work—social and political histories, wonder and play, agency and subjectivity, material culture and mediation, formal invention, identity and language, posthuman imaginaries, domesticity and the everyday, emergent systems and environmental precarity. The artists’ studio practices reflect current approaches in the field, including a fluid continuum of physical and technological processes. What these artists share are positions deeply informed by changing conceptions of feminism and their ongoing dialogue and commitment in this specific place and time.

The exhibition is curated by the featured artists, Amanda Wojick, Charlene Liu, Stacy Jo Scott, Laura Vandenburgh, Tarrah Krajnak, Tannaz Farsi and Anya Kivarkis, with the curatorial advice of Danielle Knapp and Adriana Miramontes Olivas, PhD.

Explore the virtual tour here!

 

phpmenutreefix: 
ODA Mayumi 小田檀 (Japanese-born American, b. 1941). Garden in Rain, 1981. Sōsaku hanga woodblock print; ink and color on paper, edition AP, 24 x 35 5/8 inches. Gift from the Asian Art Collection of Alice and Jack Hardesty
 
UTAGAWA Kuniyoshi 歌川國芳 (1797-1861) and UTAGAWA Yoshitori-jo 歌川芳鳥女 (1839-circa 1870) Japanese; Edo period, 1852, Ouch! That Hurts! (Ô itai), from the series Celebrated Treasures of Mountains and Seas (Sankai medetai zue), Ukiyo-e woodblock print in vertical ôban format; ink and color on paper, H. 14 ¼ x W. 9 ¾ inches. Loan from the Lee & Mary Jean Michels Collection, LMM.0455

“Woman was the Sun” | Art of Japanese Women

November 11, 2023 to August 04, 2024
Pioneering feminist Hiratsuka Raichō (1886-1971) began the 1911 issue of Japan’s first all-women literary journal Seitō (Bluestocking) with the words “In the beginning, woman was the sun,” a reference to the legend that the Japanese imperial family descended from the Shintō Sun Goddess Amaterasu Ōmikami.* Despite these illustrious origins, the status of women declined over 2,000 years of Japanese history to the extent that by the late nineteenth century they came to be viewed primarily as subservient accessories to men – “good wives and wise mothers” (ryōsai kenbo) or political pawns – rather than for their individual merit, intelligence, or creativity.
 
In conjunction with the 50th anniversary of the University of Oregon’s Center for the Study of Women in Society, this installation celebrates Japanese women through paintings, calligraphy, prints, sculpture, and decorative art from the permanent collection augmented with a selection of distinguished loans. The artists represented range from nineteenth-century Buddhist poet, calligrapher, and ceramicist Otagaki Rengetsu (1791-1875) and painter Noguchi Shohin (1847-1917) through cutting-edge contemporary artists Kusama Yayoi (born 1929), Aoshima Chiho (born 1974), and Nagare Manika (born 1975), photographer Kaneko Hiroyo (born 1963), manga artist Hagio Moto (born 1949), calligraphers Jō-Amidabutsu (active circa 1228-1240), Matsubara Reiko (active circa 1923), and Shinoda Tōkō (1913-2021), printmakers Utagawa Yoshitori-jo (1839-circa 1870), Minami Keiko (1911-2004), Iwami Reika (1927-2020), Mayumi Oda (born 1941), Betty Nobue Kano (born 1944), Asahi Mio (born 1957), and Ozeki Ritsuko (born 1971), and prints by three generations of female Yoshida artists: grandmother Yoshida Fujio (1887-1987), mother Yoshida Chizuko (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, and a selection of tea-related objects intended for curricular use. Woman was the Sun was organized by chief curator Anne Rose Kitagawa in collaboration with art history professor Akiko Walley. A few additional works created by Japanese women will be on view in the faculty-curated exhibition Artists, Constellations and Connections: Feminist Futures in the Schnitzer Gallery during the Winter and Spring terms of 2024.
 
*“In the beginning, woman was the sun, an authentic person. Now she is the moon, a wan and sickly moon, dependent on another, reflecting another’s brilliance.” – Hiratsuka Raichō in Seitō (Bluestocking), 1911. Translated by Teruko Craig.
phpmenutreefix: 

LIN Tianmiao 林天苗 (Chinese, b. 1961) and WANG Gongxin 王功新 (Chinese, b. 1960). Here or There? No. 14, 2002. 14th from an album of 15 photographs, edition 38/50, 14 ⁷⁄₁₆ x 17 ⁵⁄₁₆ inches. Gift of the Jack and Susy Wadsworth Collection of Contemporary Chinese Photographs

Hung LIU (LIU Hung 刘虹, Chinese-born American, 1948-2021). Heart II, 2012. Mixed media, H. 60 x W. 41 inches. Gift of Artist Hung Liu and Trillium Graphics/David Salgado, 2018:25.24

XIAO Lu 肖鲁 (born 1962) Chinese; People’s Republic of China, n.d. [event: 1989], Dialogue-Shooting, Color photograph, printed later, H. 35 ½ x W. 46 ½ inches. Gift of the Jack and Susy Wadsworth Collection of Contemporary Chinese Photographs, 2018:38.2

Half the Sky: Women in Chinese Art

September 09, 2023 to July 07, 2024

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.

This installation draws primarily from the museum’s permanent collection and features Chinese paintings, calligraphy, prints, posters, photographs, textiles, and mixed-media works by and/or about women. Subjects include religious figures such as the Queen Mother of the West; dutiful female paragons of filial piety and women fulfilling gendered roles in silk production; historical figures and heroines of popular novels; anonymous beauties; modern role models disseminated through Communist propaganda; humanistic portrayals of anonymous photographic subjects, and futuristic visions. The artists represented include famed literati painter/calligrapher Guan Daosheng (1262-1319), modern artist Fang Zhaoling (1914-2006), political propaganda painters Li Fenglan (born 1933) and Zhou Sicong (1939-1996), inspirational Chinese-born American artist Hung Liu (1948-2021), pioneering avant-garde artists Li Shuang (born 1957) and Xiao Lu (born 1962), and contemporary photographer Lin Tianmiao (born 1961).

Half the Sky was organized by chief curator Anne Rose Kitagawa and will incorporate additional Chinese works over the course of the 2023-2024 academic year.

 

Reception: The Art of Being Well: Highlights of the Museum’s Programs for Wellbeing

You’re invited to a reception celebrating the art and artists featured in The Art of Being Well: Highlights of the Museums Programs for Wellbeing. This exhibition includes a sample of art created both in-person and remotely during Art Heals sessions over the 2022-23 academic year. Artists are physicians from Narrative Medicine Facilitator training, hospice volunteers from Samaritan Evergreen Hospice in Corvallis, adults living with cancer participating in the Transformation Cancer Support Group at Samaritan Pastega Cancer Resource Center, and UO students and student-athletes.

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