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Utilizing the visual language of color calibration charts and contemporary stock photography, this image collage offers the viewer an amalgamation of references that could at first appear to be celebratory. Mashed together are depictions of beauty regiments, skin tone makeup charts, piles of foods and ethnic spices, sumptuous desserts, tropical vacation landscapes, pastoral farmlands, and community building moments of togetherness. On closer inspection, the frictions and ironies begin to surface, suggesting an anxious shift in contemporary politics masked by upbeat advertising language and colorful veneer.
Long interested in how visual displays can camouflage more complex realities, Syjuco purchased the majority of these images from commercial stock photography sites, juxtaposing them in a way that teases out conflicting meanings. Included is one large image she staged in her studio, as well as multiple color calibration charts that are meant to check for “correct color” — a fraught metaphor for our times.
Stephanie Syjuco works in photography, sculpture, and installation, moving from handmade and craft-inspired mediums to digital editing and archive excavations. Recently, she has focused on how photography and image-based processes are implicated in the construction of exclusionary narratives of history and citizenship. Born in the Philippines in 1974, she is the recipient of a Guggenheim Fellowship Award, a Joan Mitchell Painters and Sculptors Award and a Tiffany Foundation Award. Her work is in numerous collections, including at The Museum of Modern Art, the Metropolitan Museum, The Getty Museum, SFMOMA, and the Smithsonian American Art Museum, among others. She was a Smithsonian Artist Research Fellow at the National Museum of American History in Washington DC in 2019–20 and is featured in the acclaimed PBS documentary series Art21: Art in the Twenty-First Century. She is a Professor in Sculpture at the University of California, Berkeley and lives in Oakland, California.
9:00 a.m.–6:00 p.m.
"Living and the Said brings together three artists exploring language, material, and memory. Silas Cassidy creates text-based paintings. Jane Contis uses weaving and felting to reclaim slow, handmade processes in contrast to mass production. Candice Francis presents an immersive funeral home installation that confronts rituals of death."
9:00 a.m.–6:00 p.m.
New work by Alfredo Lopez.
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Map to location of Foyer Gallery in Lawrence Hall
New work by Riju Dastidar.
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*Note: UO ID card with building access is required to gain entry to Washburn Gallery.*
9:00 a.m.–6:00 p.m.
New work by Riju Dastidar.
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*Note: UO ID card with building access is required to gain entry to Washburn Gallery.*
4:00 p.m.
University of Oregon 2025-26 Visiting Artist Lecture Series Presented by the Department of Art and Center for Art Research
This talk explores Alice Bucknell’s work through the lens of clipping: the moment in a video game when the player slips through a wall or falls beyond the map. Often treated as a technical error, clipping becomes a method for breaking open systems and exposing their ecological, political, and epistemic structures. Across projects such as The Alluvials (2023), Small Void (2025), and Earth Engine (both 2026), Bucknell uses gamespace as a site for speculative experimentation, blurring boundaries between humans and nonhuman, natural and synthetic intelligences, and self vs world. In this framework, play offers an affective encounter with the world that’s grounded in total feeling rather than totalized knowledge. Clipping the horizon means colliding with the limits of perception itself and tumbling sideways into a world that resists being mapped, modeled, or controlled.
Alice Bucknell is an artist, writer, and educator based in Los Angeles. Their work explores the affective dimensions of video games as interfaces for understanding complex systems, relationships, and forms of knowledge. Bucknell is generally interested in the limits of scientific knowledge and systems thinking, the weird possibilities of play, and play as an embodied technology. They have exhibited internationally, including at Centre Pompidou (Paris), Kunsthalle Praha (Prague), Ars Electronica (Linz), transmediale (Berlin), Arcade Seoul, the Venice Architecture Biennale, the Singapore Art Museum and Serpentine Galleries (London). In 2025, their video game The Alluvials was acquired by SFMOMA, becoming the first video game in the museum's permanent collection. A 2025 recipient of the Creative Capital Award and a 2026 resident of La Becque Principal Residency Program in Switzerland, Bucknell teaches world
6:00–8:00 p.m.
This two-day event brings together leading artists and scholars who address and resist extractive violence, often from decolonial, anti-racist, and/or anti-capitalist perspectives, and who envision worlds and relations beyond extraction/extractivism.
Thursday: film screening and discussion; Friday: talks and panel discussions.
7:00 p.m.
Filmlandia Screening Series Presents: Screening of Tracktown (2016) and Q&A with Director Alexi Pappas and Producer Laura Wagner.
Free and open to the public.
Directed by Alexi Pappas and Jeremy Teicher | 88 min
Synopsis: A young, talented, and lonely long-distance runner twists her ankle as she prepares for the Olympic Trials and must do something she’s never done before: take a day off.
The Department of Cinema Studies and the University Film Society celebrate Oregon’s rich film heritage with a new screening series showcasing movies with a unique Oregon connection—from locally shot features to stories written or directed by Oregon filmmakers. Discover Oregon’s reel legacy on the big screen while connecting with the university film community.
A Strauss Visiting Filmmaker Series Special Event
Cosponsored by: Harlan J. Strauss Visiting Filmmaker Endowment; Department of Art; Department of Comparative Literature; Department of English; Department of History; Department of Indigenous, Race, and Ethnic Studies; Native American and Indigenous Studies; Folklore and Public Culture Program; School of Journalism and Communication; Art House Theater; DUX Present; Jordan Schnitzer Museum of Art; Julie and Rocky Dixon Chair of U.S. Western History; and Oregon Humanities Center’s Endowment for Public Outreach in the Arts, Sciences, and Humanities.
9:00 a.m.–6:00 p.m.
This two-day event brings together leading artists and scholars who address and resist extractive violence, often from decolonial, anti-racist, and/or anti-capitalist perspectives, and who envision worlds and relations beyond extraction/extractivism.
Thursday: film screening and discussion; Friday: talks and panel discussions.
New work by Britta Anderson.
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*Note: UO ID card with building access is required to gain entry to Washburn Gallery.*
9:00 a.m.–6:00 p.m.
New work by Britta Anderson.
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*Note: UO ID card with building access is required to gain entry to Washburn Gallery.*
5:00–8:00 p.m.
The University of Oregon Department of Art's MFA Art Exhibition 2026 culminates three years of independent research and experimentation by a cohort of four artists whose various practices engage in a broad range of inquiry. This year, the MFA exhibition returns to Ditch Projects, celebrating the MFA graduates’ efforts in the professional standard of a highly regarded artist run space and gallery. The 2026 cohort is Yalda Eskandari, Elri Friedman, Afsaneh Javadpour, and Maryam Keshmiri. The four artists showcased in this exhibition represent a diverse range of media and practices, spanning sculpture, installation, photography, painting, and collage.
Artists: Yalda Eskandari Elri Friedman Afsaneh Javadpour Maryam Keshmiri
On View: May 8-24, 2026
Opening Reception: Friday, May 8, 5:00- 8:00 p.m.
Gallery Hours: Saturdays & Sundays from noon- 4:00 p.m. and by appointment
Location: Ditch Projects, 303 S 5th St #165, Springfield, OR 97477
5:00 p.m.
The Dawn is Too Far shares the untold stories of eight Iranian Americans in the San Francisco Bay Area and shares the longer arc of history (beyond the 1979 revolution) that recounts events both in Iran and the US. The film features aspects of the Bay Area Iranian diaspora community and the way their lives and work were influenced by this region of California, but how they have contributed and helped shape it as well. The film offers a poetic and complex narrative that undermines the barrage of negative headlines that dominate our news media and features rare archival footage.
Persis Karim is the former director of the Center for Iranian Diaspora Studies at San Francisco State University where she also taught in the Department of Humanities and Comparative and World Literature. She is the editor of three anthologies of Iranian diaspora literature, and has published numerous articles about Iranian diaspora literature and culture for academic journals, as well as poetry and essays in non-academic publications. The Dawn is Too Far: Stories of Iranian-American Life is her first film and reflects her interest in documenting and sharing the larger history and personal stories of those who are part of the global Iranian diaspora.
Made possible by the Department of Anthropology, SSWANA, and the Department of Art’s Center for Art Research.
4:00 p.m.
University of Oregon 2025-26 Visiting Artist Lecture Series Presented by the Department of Art and Center for Art Research
“This presentation introduces my studio practice, which is situated at the intersection of weaving and animation. I create woven textiles on a jacquard loom and translate these fabrics into time-based works, approaching the loom as a camera and editing tool. By working with sequential woven images and material processes, my work explores how textiles can generate motion and shape the moving image. I will discuss recent projects that move between handwoven cloth and animation, as well as the technical and conceptual questions that arise when textiles are used as a time-based medium. The talk will also touch on the overlapping histories of weaving and cinema, and how textile processes offer alternative ways of thinking about moving images, narrative, and authorship.”- Kate Nartker, 2026
Kate Nartker works between animation and weaving to dismantle images, narratives, and material structures. She received an MFA from the California College of the Arts and is an Assistant Professor of Textile Design at the Wilson College of Textiles at NC State University. Her work has been included in exhibitions and screenings throughout the United States and internationally, including The Museum of Craft and Design in San Francisco, The Contemporary Austin, and the Hordaland Art Center in Bergen, Norway.
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