The Department of Art Visiting Artist Lecture Series exposes our students and members of the general public to innovative and influential artists, curators, critics, and historians from around the world. The department invites speakers to lecture about their work and to engage with students in small groups or individual studio visits as part of the Visiting Artist Program.
Two annual endowed lectures, the George and Matilda Fowler Lecture and the Davis Family Lecture, bring in particularly high-profile guest speakers who challenge our assumptions about art and have broad relevance across media.
All lectures begin at 6:00 p.m. on Thursdays in Lawrence Hall, room 177, unless otherwise noted, and are free and open to the public.
Students may register for the Department of Art course ART 407 and receive 1 unit of credit for attending the Visiting Artist Lectures - no prerequisite required. Visit the UO Class Schedule website for current scheduling information.
A video archive of recent lectures can be found on the Department of Art’s UO Channel.
The 2017-18 Department of Art Visiting Artist Lecture Series is made possible in part by the Davis Family Fund, the George and Matilda Fowler Endowment Fund, the Gordon W. Gilkey Endowed Fund, the Jordan Schnitzer Museum of Art, the Department of the History of Art and Architecture, the Department of Cinema Studies, and the Connective Conversations | Inside Oregon Art Program, a partnership between the Ford Family Foundation and the University of Oregon School of Art + Design.
The University of Oregon Department of Art is pleased to present the
2017–18 Visiting Artist Lecture Series
“The Properties of Paint and Painting as a Ledger of Time”
Thursday, October 5, 2017
This lecture is made possible in part by the the Gordon W. Gilkey Endowed Fund and co-hosted by the Department of the History of Art and Architecture.
“Every morning I walk to the studio before the sun comes up. Five years ago, on that walk, a meteorite streaked overhead and lit everything like day. It was a terrifying and wonderful moment. Painting is that same experience. The bits and details of that flash of brilliant clarity would pass by if not for the practice of painting. A painting is a structure for the extraordinary and informative events of nature that are otherwise invisible.” – James Lavadour, 2013
Born in 1951, James Lavadour is one of the Northwest’s most revered living painters. Lavadour’s family are descendants of the Walla Walla tribe of the modern day Confederated Tribes of the Umatilla Indian Reservation. He has lived his life in Northeastern Oregon where he is an enrolled tribal member and has lived and worked on the reservation for the past 38 years. His sense of service and commitment to the tribal community have lead him to work for the tribal government in education, housing, alcohol and drug treatment, and natural resource management. In 1993 Lavadour and a group of supporters founded Crow’s Shadow Institute for the Arts, a not for profit print studio/arts organization that provides a creative conduit for social, economic, and educational opportunities to Native Americans through artistic development.
James Lavadour’s work was featured as one of only 102 artists selected for the Crystal Bridges Museum of American Art’s seminal survey exhibition, State of the Art: Discovering American Art Now and at the 55th Venice Biennale in Personal Structures.
His works are included in the collections of the Smithsonian National Museum of the American Indian, Washington DC; the Crystal Bridges Museum of American Art, Bentonville, AK; the Seattle Art Museum, Seattle, WA; the Portland Art Museum, Portland, OR; the Tacoma Art Museum, Tacoma, WA; the Boise Art Museum, Boise, ID; the Eiteljorg Museum, Indianapolis, IN; the Hallie Ford Museum, Salem, OR; the Hood Museum, Hanover, NH; Bank of America, San Francisco, CA; the Microsoft Corporation, Redmond, WA as well as numerous private collections.
“After the Contemporary”
Thursday, October 12, 2017
William Powhida will discuss his recent show “After the Contemporary” at the Aldrich Contemporary Museum of Art. The exhibition was the artist’s first museum solo show and offered a fictive survey of The Contemporary, a period of art history from 2000–2025 defined by the expansion of the art market. The exhibition also included a retrospective of the artist’s works from 2004–2047, made possibly by the 2050 setting of the exhibition. The lecture will cover works included in the show as well previous exhibitions and projects that informed “After the Contemporary”.
William Powhida makes fun of the art world to highlight the paradoxes and absurdities of economic and social value systems that keep the sphere of visual art afloat on a tide of inequality. His work relies on research and participation to diagram, list, perform and critique the forces that shape perceptions of value. He is responsible or partly responsible for exhibitions including "Overculture" at Postmasters Gallery, "Bill by Bill" at Charlie James Gallery, "POWHIDA" at Marlborough Gallery and "#class" at Winkleman Gallery.
Powhida is also an infrequent contributor to ArtFCity and Hyperallergic on issues that alarm him. His complicit criticism has been rewarded with gallery representation, numerous exhibitions and critical debate. He was born in 1976 in upstate New York and still lives and works in New York City despite the crushing cost of living and working. He is represented by Postmasters Gallery in New York, Charlie James Gallery in Los Angeles, Gallery Poulsen in Copenhagen, and Platform Gallery in Seattle.
George and Matilda Fowler Lecture
Thursday, October 19, 2017
Stanya Kahn is an interdisciplinary artist working primarily in video with a practice that includes performance, writing, sound, drawing, painting and ceramics. Humor, pathos and the uncanny emerge as central modes in a hybrid media practice that seeks to re-work relationships between fiction and document, the real and the hyper-real, satire and sincerity, narrative time and the synchronic time of impulse.
Kahn is a 2012 Guggenheim Fellow in Film/Video. Recent exhibitions include Marlborough Contemporary, NY; Susanne Vielmetter, Los Angeles; Weiss Berlin; Cornerhouse, Manchester, UK; the New Museum, New York, NY; and the Brooklyn Academy of Music, New York. She has shown at the Hammer Museum, Los Angeles; the Museum of Contemporary Art, San Diego, CA; the2010 California Biennial; and Rodeo, London, UK recently. Her collaborative work with Harry Dodge has shown at Elizabeth Dee Gallery, New York; the 2008 Whitney Biennial; the Sundance Film Festival; the Museum of Contemporary Art, Los Angeles; the Museum of Modenr Art, New York; ZKM Karlsrühe; among others. She was a contributing writer, performer and costumer on the feature film By Hook or By Crook. Her writings and drawings are in multiple publications including Die Laughing (2nd Cannons Publications), It's Cool, I'm Good (Cornerhouse Publications), Abstract Video (University of California Press), among others.
“50 Years: Learning to Be an Artist”
Thursday, October 26, 2017
“I am an artist, and collector of visual sensation. Observation, for me, is a critical tool for identifying spaces between mass culture and the individual. Daily errands, chores, and daily exchanges for carrying out getting from A to B are the vehicle for examination. For me, art takes place in these gaps. Specific gaps which define a present situation, personal or global which is always moving. Moving fast, out of grasp, constant flowing information, changing always. Art, for me, happens in conjunction with decoration, and is always fighting decoration. The activity of the agreement of art and decoration, or the battle of it are truly engaging for me.” - Nancy Shaver
Nancy Shaver is faculty at the Milton Avery School of Graduate Studies, Bard College. Shaver's work was presented in a solo show at Derek Eller Gallery in summer 2016. She has been part of the Greater New York show 2015 MoMA PS 1, Queens, NY as well as in Robert Gober's "The Heart Is Not a Metaphor" at MoMA, New York, NY. She currently has work in VIVA ARTE VIVA! the 57th Venice Biennale 2017. She has received a Guggenheim Foundation Fellowship, Louis Comfort Tiffany Award, and Anonymous Was A Woman award. She has been in collaboration with Maximilian Goldfarb and Allyson Strafella to present art in an experimental viewing station in Hudson, New York called Incident Report for the last 10 years. Shaver lives and works in Jefferson and Hudson, New York.
“Live Through This: The Fate of Public Voices”
Thursday, November 14, 2017
Lawrence Hall, Room 177
Jan Verwoert will address the existential condition of critical writing. "The model of one person passing judgment on others has become ridiculous,” he says. "Art, life, politics—we're in it together after all, even and especially now that societies are forcefully split. What does it take for a voice to articulate intuitions and observations in a manner that allows for very different people to relate to a public thinking process? Urban satire can do it. Is this because laughing at the state of the world awakens a sense of grotesque, yet fateful connectedness?"
Jan Verwoert is a critic and writer on contemporary art and cultural theory, based in Berlin. His writing has appeared in different journals, anthologies and monographs. He teaches at the Piet Zwart Institute Rotterdam. He is a professor for theory at the Oslo National Academy of the Arts and guest professor at the UdK Graduate School, Berlin. He is the author of Bas Jan Ader: In Search of the Miraculous, MIT Press/Afterall Books 2006, the essay collection Tell Me What You Want What You Really Really Want, Sternberg Press/Piet Zwart Institute 2010, together with Michael Stevenson, Animal Spirits — Fables in the Parlance of Our Time, Christoph Keller Editions, JRP, Zurich 2013, a second collection of his essays Cookie! published by Sternberg Press/Piet Zwart Institute 2014 and editor of the anthology on artistic knowledge No New Kind of Duck — Would I know how to say what I do?, Diaphanes & UdK Graduate School, Zurich-Berlin 2016.
This lecture is made possible by the Connective Conversations, Curator and Critic Tours and Lectures, a partnership between The Ford Family Foundation and the University of Oregon School of Art and Design.
"California Soul: The Vessel Tradition in the Work of Peter Voulkos and June Schwarcz”
Thursday, January 18, 2018
Lawrence Hall, Room 177
Jenni Sorkin is Associate Professor of Contemporary Art History at University of California, Santa Barbara. She holds a PhD in the History of Art from Yale University. Sorkin writes on the intersection between gender, material culture, and contemporary art. Her book, Live Form: Women, Ceramics and Community was published by University of Chicago Press in 2016. She has also published widely as an art critic, and her writing has appeared in Artforum, Art Journal, Art Monthly, NU: The Nordic Art Review, Frieze, The Journal of Modern Craft, Modern Painters, and Third Text. She has written numerous in-depth catalog essays on feminist art and material culture topics, and lectures nationally and internationally.
Special thanks to the Department of the History of Art and Architecture for their support.
“On Digital Colonialism and Monstrosity”
Thursday, May 17, 2018
Lawrence Hall, Room 177
Morehshin Allahyari is an artist, activist, educator, and occasional curator. She is the recipient of the leading global thinkers of 2016 award by Foreign Policy magazine. Allahyari was born and raised in Iran and moved to the United States in 2007. Her work deals with the political, social, and cultural contradictions we face every day. She thinks about technology as a philosophical toolset to reflect on objects and as a poetic means to document our personal and collective lives struggles in the 21st century. Allahyari is currently an artist in residence at Eyebeam’s one-year Research Residency (2016–2017) in NYC where she is developing a new body of work on Digital Colonialism and ‘re-Figuring’ as a Feminism and de-colonialism practice, using 3D scanners and 3D printers as her tools of investigation. Researching dark goddesses, monstrous, and djinn female figures of Middle-Eastern origin, Allahyari devises a narrative through practices of magic and poetic-speculative storytelling, re-appropriation of traditional mythologies, collaging, meshing, scanning, and archiving.
Allahyari has been part of numerous exhibitions, festivals, and workshops around the world including Venice Biennale di Archittectura, Museum of Contemporary Art in Montreal, Tate Modern, Queens Museum, Pori Museum, Powerhouse Museum, Dallas Museum of Art, Jeu de Paume, Contemporary Arts Museum of Houston, Museum für Angewandte Kunst. She has been an artist in residence at BANFF Centre (2013), Carnegie Mellon University’s STUDIO for Creative Inquiry (2015), Autodesk Pier9 Workshop in San Francisco (2015), and the Vilém Flusser Residency Program for Artistic Research in association with Transmediale, Berlin (2016). Her work has been featured in the New York Times, Huffington Post, Wired, National Public Radio, Parkett Art Magazine, Frieze, Rhizome, Hyperallergic, and Al Jazeera, among others.