Visiting Artist Lectures

The Department of Art Visiting Artist Lecture Series introduces students and the community-at-large to a broad range of international interdisciplinary practitioners including artists, curators, critics, and historians. The department is committed to inviting innovative and prominent professionals to speak about their influences and processes within their current practice as part of the public lecture series and also to engage with students in small groups or individual studio critiques. All lectures are free and open to the public. We invite you to explore 10+ years of Visiting Artist lecture videos on the UO Channel and to visit 5 Minutes for conversations between Visiting Artists and MFA candidates.

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2020–21 Visiting Artist Lecture Series

Lectures begin at 4:00 p.m. Pacific Time, unless otherwise noted.

Lectures are live on Zoom with registration and will also livestream on the Department of Art Facebook.

Fall 2020

Simon Starling*
*(10:00 a.m.)
Davis Family Lecture

Thursday, October 22
John Mann
Thursday, October 29
Jenna Sutela*
*(10:00 a.m.)
Thursday, November 5
Jess Perlitz
Thursday, November 12
Caroline Woolard*
*(Noon)
Thursday, November 19
 

Winter 2021

Fred H.C. Liang
Thursday, January 14
Mario Ybarra Jr.
Thursday, January 21
Diana Guerrero-Macia
Thursday, January 28
Jillian Mayer
Thursday, February 4
Laura Fritz
Thursday, February 11

Spring 2021

Glenn Adamson
Tuesday, April 6
Julia Fish
Thursday, April 29
Amir Zaki
Thursday, May 6


Simon Starling

Davis Family Lecture
“Regarding Time”

Thursday, October 22 at 10:00 a.m.

This lecture is free and open to the public.

Register for the Simon Starling lecture or join us on Facebook.

With a particular focus on his activities as an exhibition maker, this richly illustrated talk will attempt to investigate the ways in which Simon Starling’s materially diverse art practice pushes and pulls at our understanding of time. From futuristic Zig-Zag chairs made of 45,000-year-old wood to the phantasmagorical effects of masquerades, from defunct craftsmanship to cutting-edge image production, from still photography to motion-control technology, this anachronic journey through the artist’s career will confront a uniform and absolute notion of time with possible divergent, convergent and parallel alternatives.

Simon Starling was born in Epsom, England, in 1967. He graduated from the Glasgow School of Art and was professor of fine arts at the Städelschule in Frankfurt from 2003 to 2013. His practice spans a wide variety of media, including film, installation and photography. Starling won the Turner Prize in 2005 and was shortlisted for the Hugo Boss Prize in 2004. He represented Scotland at the Venice Biennale in 2003 and has had solo exhibitions at Frac Ile-de-France, Le Plateau n Paris (2019), Musée regional d’art contemporain in Sérignan (2017), Japan Society in New York (2016), Museo Experimental El Eco in Mexico City (2015), Museum of Contemporary Art in Chicago (2014), Monash University Museum of Art in Melbourne (2013), Staatsgalerie Stuttgart in Germany (2013), Hiroshima City Museum of Contemporary Art in Japan (2011) and Massachusetts Museum of Contemporary Art in North Adams (2008). Starling lives in Copenhagen.

This lecture is made possible by the Davis Family Endowed Fund in Art.

themoderninstitute.com

"Recursive Plates" by Simon StarlingRecursive Plates (After Eugene Atget), 2019, Co-produced with Frac Ile-de-France, courtesy of the artist and Casey Kaplan, New York.

Simon StarlingSimon Starling. Photo credit: Karl Isakson.


John Mann

“The Walled Garden”

Thursday, October 29 at 4:00 p.m.

This lecture is free and open to the public.

Register for the John Mann lecture or join us on Facebook.

“My photographic images are highly influenced by my simultaneous interests in sculpture and drawing. By using the still life as a stage for the camera, I am interested in a conceptual and aesthetic building of the image. The camera ultimately lets me assign the eye to a fixed vantage point, where the resulting image both amplifies and denies the sculptural aspects of the work placed in front of the camera. These images use elements of drawing by requiring light to both reveal and obscure an object, or to use positive/negative forms to push and pull the image in the frame. I see this working process as a means to create images that are simultaneously easily understood and distinct abstractions of the subject itself.” - John Mann, 2020

John Mann is an artist who explores the visual complications of photography, the sequence and the still life though printed images, artist books and sculptural works. His artwork has been exhibited at venues such as Aperture, (NYC), Light Work (Syracuse, NY) Daniel Cooney Fine Art (NYC), Hyeres Festival of Photography (FR), Phillips de Pury (London), PDX Contemporary (Portland), Newspace Center for Photography (Portland), The Print Center (Philadelphia), Privateer Gallery (Brooklyn), and the Houston Center for Photography (TX). He has had artist residencies at Light Work (NY), The Visual Studies Workshop (NY), Virginia Center for Creative Arts (VA) and was a Research Fellow at the Lacoste School of the Arts (FR). He earned a BFA i(Studio Art) from Arizona State University and an MFA (Photography) from The University of New Mexico. He currently lives and works in Chicago and is a member of the Cake Collective photography network.

johnmannstudio.com

Untitled arwork by John Mann from the series Shadow Mantle, 2019Untitled, from the series Shadow Mantle, 2019.

John MannJohn Mann


Jenna Sutela

“Many-Headedness”

Thursday, November 5 at 10:00 a.m.

This lecture is free and open to the public.

Register for the Jenna Sutela lecture or join us on Facebook.

Jenna Sutela will share some of her ongoing artistic research on biological and computational systems. Sutela's talk will focus on an understanding of oneself as interconnected with the wider environment. It proposes a profound shift in subjectivity—one beyond anthropocentrism and individualism.

Jenna Sutela works with words, sounds, and other living media, such as Bacillus subtilis nattō bacteria and the “many-headed” slime mold Physarum polycephalum. Her audiovisual pieces, sculptures, and performances seek to identify and react to precarious social and material moments, often in relation to technology. Sutela's work has been presented at museums and art contexts internationally, including Guggenheim Bilbao, Moderna Museet, and Serpentine Galleries. She was a Visiting Artist at The MIT Center for Art, Science & Technology (CAST) in 2019-20.

jennasutela.com

artwork by Jenna Sutela, photo courtesy Moderna MuseetI Magma, 2019, photo courtesy Moderna Museet.

Jenna SutelaJenna Sutela. Photo courtesy Rob Kulisek.


Jess Perlitz

“I Don't Want to Live on the Moon”

Thursday, November 12 at 4:00 p.m.

This lecture is free and open to the public.

Register for the Jess Perlitz lecture or join us on Facebook.

Grappling with how space gets articulated, Perlitz's work takes many forms - traversing performance, sculpture, and drawing. The work considers landscape and the ways in which define and seek to recognize ourselves within it.

Perlitz's work has appeared in a variety of venues such as playgrounds, fields, galleries, and museums, including the Institute for Contemporary Art in Philadelphia, Socrates Sculpture Park in NY, Cambridge Galleries in Canada, De Fabriek in The Netherlands, and aboard the Arctic Circle Residency. Born in Toronto, Canada, Jess is a graduate of Bard College, received her MFA from Tyler School of Art, and clown training from the Manitoulin Center for Creation and Performance. Jess is a 2019 Hallie Ford Fellow currently based in Portland, Oregon where she is Associate Professor of Art and Head of Sculpture at Lewis & Clark College. Jess was recently an artist in residence at the Bemis Center for Contemporary Art in Omaha, NE, and included in the 2019 American Academy of Arts & Letters Invitational Exhibition of Visual Arts in NYC. Her project, Chorus, is currently installed at Eastern State Penitentiary in Philadelphia, PA as part of the museum’s ongoing artists installation series.

Co-sponsored by the Jordan Schnitzer Museum of Art and the Department of Art and made possible by The Ford Family Foundation in conjunction with Hallie Ford Fellows in the Visual Arts (2017-19).

jessperlitz.com

artwork by Jess PerlitzCrotch Pipe, 2019, steel, 90 x 15 x 24". Photo credit: Mario Gallucci.

Jess PerlitzJess Perlitz


Caroline Woolard

“Art, Engagement, Economy: the Working Practice of Caroline Woolard”

Thursday, November 19 at Noon

This lecture is free and open to the public.

Register for the Caroline Woolard lecture or join us on Facebook.

Art, Engagement, Economy: the Working Practice of Caroline Woolard proposes a politics of transparent production in the arts, whereby heated negotiations and mundane budgets are presented alongside documentation of finished gallery installations. Audience members will follow the behind-the-scenes work that is required to produce interdisciplinary art projects, from a commission at MoMA to a self-organized, international barter network with over 20,000 participants. With contextual analysis of the political economy of the arts, from the financial crisis of 2008 to the COVID pandemic of 2020, this talk suggests that artists can bring studio-based sculptural techniques to an approach to art-making that emphasizes interdisciplinary collaboration and dialogue.

Caroline Woolard (b.1984) is an American artist who, in making her art, becomes an economic critic, social justice facilitator, media maker, and sculptor. Since the financial crisis of 2007-8, Woolard has catalyzed barter communities, minted local currencies, founded an arts-policy think tank, and created sculptural interventions in office spaces. Woolard has inspired a generation of artists who wish to create self-organized, collaborative, online platforms alongside sculptural objects and installations. Her work has been commissioned by and exhibited in major national and international museums including MoMA, the Whitney Museum, and Creative Time. Woolard’s work has been featured twice on New York Close Up (2014, 2016), a digital film series produced by Art21 and broadcast on PBS. She is the 2018–20 inaugural Walentas Fellow at Moore College of Art and Design and the inaugural 2019–20 Artist in Residence for INDEX at the Rose Museum, and a 2020-2021 Fellow at the Center for Cultural Innovation.

carolinewoolard.com

artwork by Caroline Woolard Countermeasures: Level, 2018, glass, mineral oil, turned cherry wood, 18 x 8 x 14 inches. Still from The Study Center for Group Work video by Caroline Woolard and Herman Jean-Noel / NEGLAKAY PRODUCTIONS.

Caroline WoolardCaroline Woolard. Photo credit: Jen Atalla, 2019.


Fred H. C. Liang

“Convergence”

Thursday, January 14, 2021

This lecture is free and open to the public. Join us on Facebook.

Much of Fred H. C. Liang’s recent work combines jianzhi, the folk art of cut paper, with porcelain to explore cultural exchanges between the East and West. The assemblage of his work explores the complex global exchanges and the subsequent dissemination, appropriation, and transformation of cultural ideas and peoples. Life is more bewildering than fiction, and hidden, historical narratives more beguiling than those preconceived. In his work, Liang takes viewers down the rabbit hole of domestic and global events, where our collective understanding of history is disassembled and linked as unexpected chains of events—and descending through the burrow allows an alternate reality to reveal itself. In much of his work, he excavates familiar global narratives to illuminate the complexity of events that impact both Eastern and Western societies in unanticipated ways. Doing so encourages a visual dialogue that examines the intangibility of the past, present and future by considering the tangibility of personal rituals, cultural traditions and shared iconography. Such considerations expose the fragility and impermanence of things both large and small. Through forms and materials, Liang’s work re-contextualizes art and deconstructs cultural traditions from places far and near—reflecting societies’ cultural and economic exchanges.

Fred H. C. Liang received a BFA from the University of Manitoba and an MFA from Yale University. His honors include Massachusetts Cultural Council Arts Grants in both painting, printmaking and works on paper. Liang’s work is in numerous public and private collections including Fidelity, the Gund Collection, Addison Museum of American Art and the Rose Art Museum at Brandeis University. He recently exhibited work at the Currier Museum of Art in NH, Inside Out Museum in Beijing and the ICA, Boston. Liang’s most recent exhibitions include the Milwaukee Art Museum in Milwaukee, Wisconsin and Addison Museum of American Art in Massachusetts, XC.HuA Gallery in Berlin and Jerez de la Frontera Gallery at University of Cadiz. He just completed a residency at the Museo de Arte Contemporary in Sandiago de Chile and the Swatch Art Peace Hotel in Shanghai, China. His work was recently interviewed by Huffington Post, WBUR Open Studio and reviewed in The Boston Globe. Liang is a professor at the Massachusetts College of Art and Design in Boston, Massachusetts, USA where he is the Coordinator of the Printmaking Department.

Qna-studio.com

Installation view of <em>Morning Sound</em> by Fred H.C. LiangInstallation view of Morning Sound.

Fred H.C. LiangFred H.C. Liang. Photo courtesy of the artist.

 


Julia Fish

“before and since : on being ‘bound by spectrum’”

Thursday, April 29, 2021

This lecture is free and open to the public. Join us on Facebook.

Julia Fish will present an overview with images and commentary, reflecting on the recent ten-year survey exhibition of selected paintings and works on paper, bound by spectrum, presented at the DePaul Art Museum, Chicago, September 2019–February 2020. Inclusively and theoretically, Julia Fish’s work can be characterized as both site-generated and context-specific: in temporary projects / installations, and in the on-going sequence of paintings and works on paper developed in response to a close examination of living and working within her home and studio, a 1922 brick storefront in Chicago. Research interests include related disciplines of architectural history and theory.

Fish completed BFA and MFA degrees in Oregon and Maryland, and has lived and worked in Chicago since 1985. Curated exhibitions include: The Renaissance Society, University of Chicago; Galerie Remise, Bludenz, Austria; 2010, the Whitney Biennial; and the recent ten-year survey: bound by spectrum, DePaul Art Museum, Chicago. Her work is included in the collections of the Art Institute of Chicago; Denver Art Museum; the Museum of Modern Art, New York, among others. Fish is represented by Rhona Hoffman Gallery, Chicago, and David Nolan Gallery, New York.

juliafish.com

artworkThreshold – Matrix : equinox [ spectrum : east to west ], 2016–2017, oil on canvas, 30 x 70 inches, Photo credit: Tom VanEynde.

Julia FishJulia Fish. Photo courtesy of the artist.

 

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