Following UO policy regarding evolving COVID-19 best practices, the spring term Visiting Artist lectures have been canceled and will be rescheduled at a later date.
In the meantime, we’d like to invite you to explore 10+ years of Visiting Artist lecture videos on the UO Channel.
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 during their visit. All lectures are free and open to the public.
Lectures begin at 4:00 p.m., unless otherwise noted, in Lawrence Hall, 1190 Franklin Boulevard, Eugene, OR, 97403.
Register for ART 407 to receive 1 credit for attending lectures. No prerequisite is required.
The 2019–20 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 Division of Equity and Inclusion, the Jordan Schnitzer Museum of Art, and the Connective Conversations | Inside Oregon Art Program, a partnership between the Ford Family Foundation and the University of Oregon School of Art + Design Department of Art.
2019–20 Visiting Artist Lecture Series
*lecture begins at 6:00 p.m.
George and Matilda Fowler Lecture
Connective Conversations Lecture
To Be Rescheduled
“Doing It Together: Queerness, Craft, Collectivity”
Thursday, October 10, 2019
Surveying the past ten years of his curatorial work, Orendorff will explore the intersecting threads of DIY and/or craft-oriented cultural production, myriad histories of grassroots social-justice activism, and related theories of gender and sexuality that have together driven his research, exhibition and writing projects. From collectively-made queer videos and massive textile collaborations, to kink-inspired tableaux vivants and plein air paintings of banks on fire, Orendorff will detail past and present curatorial efforts that all pursue an aesthetic of non-normativity, cooperation, resistance and liberation.
Danny Orendorff is a curator and writer working as Executive Director of Vox Populi, a non-profit gallery, performance space and art collective in Philadelphia, PA. Founded in 1988, Vox Populi serves as an enduring model for how a radically independent and experimental arts organization can sustain itself through collective effort and constant evolution. Formerly, Orendorff was Curator of Public Programs for the Museum of Arts and Design in New York City and Program Director for non-profit Chicago gallery Threewalls. As an independent curator, Orendorff has organized large group exhibitions for such venues as DePaul Art Museum (Chicago, IL), The Center for Craft, Creativity & Design (Asheville, NC), SFCamerawork (San Franicsco, CA), and The Charlotte Street Foundation (Kansas City, MO), amongst others. He has taught in the Fiber & Material Studies Departments of The School of the Art Institute of Chicago and Tyler School of Art at Temple University.
Hank Willis Thomas
“All Things Being Equal...”
Monday, October 14, 2019
Throughout his career, Hank Willis Thomas (American, born 1976) has addressed the visual systems that perpetuate inequality and bias in bold, skillfully crafted works. Through photographs, sculpture, video, and collaborative public art projects, he invites us to consider the role of popular culture in instituting discrimination and how art can raise critical awareness in the ongoing struggle for social justice and civil rights.
Hank Willis Thomas is a conceptual artist working primarily with themes related to perspective identity, commodity, media, and popular culture. His work is included in numerous public collections including the Museum of Modern Art in New York; the Solomon R. Guggenheim Museum, New York; the Whitney Museum of American Art, New York; the Brooklyn Museum, New York; the High Museum of Art, Atlanta, and the National Gallery of Art, Washington D.C. His collaborative projects include Question Bridge: Black Males, In Search Of The Truth (The Truth Booth), and For Freedoms, the first artist-run initiative for art and civic engagement. In 2017, For Freedoms was awarded the ICP Infinity Award for New Media and Online Platform. Thomas is also a recipient of the Guggenheim Fellowship (2018), the AIMIA | AGO Photography Prize (2017), the Soros Equality Fellowship (2017), and is a member of the New York City Public Design Commission.
This lecture is made possible by a grant from the Division of Equity and Inclusion, the Jordan Schnitzer Museum of Art and the Department of Art.
Thursday, October 17, 2019
Muellner will present a scripted slide lecture based on the opening essay of his forthcoming book, “Lacuna Park: Essay and other Adventures in Photography”. Intertwining memoir, reportage, fiction and theory, Muellner’s newest work asks: what is existentially at stake today in the making and viewing of photographs?
Nicholas Muellner is an artist who operates at the intersection of photography and writing. Through books, exhibitions and slide lectures, his projects investigate the limits of photography as a documentary pursuit and as an interface to literary, political and personal narratives. His recent image-text books include The Photograph Commands Indifference (A-Jump Books, 2009) and The Amnesia Pavilions (A-Jump Books, 2011). His 2017 book, In Most Tides An Island (SPBH Editions, 2017), was shortlisted for the Aperture/Paris Photo Photobook of the Year Award, and he is a 2018 Guggenheim Fellow in Photography. He Co-Directs the Image Text MFA and Press at Ithaca College.
“Poking the Hive: Interventions in Unusual Media Environments”
Thursday, November 14, 2019
Artist and activist Angela Washko will present several different strategies for performing, participating in and transforming online environments that are especially hostile toward women. She will introduce her long-term performative intervention “The Council on Gender Sensitivity and Behavioral Awareness in World of Warcraft” alongside several interventions, interviews, performances, written works and video games works she has created about the manosphere and online men’s seduction communities. She will additionally introduce her newest project Workhorse Queen, a documentary film about drag queen and former RuPaul’s Drag Race contestant Mrs. Kasha Davis and her life and career post-reality-television.
Angela Washko is an artist, writer and facilitator devoted to creating new forums for discussions of feminism in spaces frequently hostile toward it. Since 2012, Washko has operated The Council on Gender Sensitivity and Behavioral Awareness in World of Warcraft, an ongoing intervention inside the most popular online role-playing game of all time. Washko's most recent project, The Game: The Game, is a video game in which professional pick-up artists attempt to seduce the player using their coercive and often dangerous signature techniques sourced from their instructional books and video materials. A recent recipient of the Impact Award at Indiecade, a Franklin Furnace Performance Fund Grant, and a Frank-Ratchye Fund for Art at the Frontier Grant, Washko's practice has been highlighted in The New Yorker, Frieze Magazine, Time Magazine, The Guardian, ArtForum, The Los Angeles Times, Art in America, The New York Times and more. Her projects have been presented internationally at venues including Museum of the Moving Image, Kiasma Museum of Contemporary Art, Los Angeles Museum of Contemporary Art, the Milan Design Triennale, the Shenzhen Independent Animation Biennial and the Rotterdam International Film Festival. Angela Washko is an Assistant Professor of Art at Carnegie Mellon University.
This lecture is made possible by the George and Matilda Fowler Endowment Fund.
Julie Rodrigues Widholm
Director and Chief Curator DePaul Art Museum, Chicago
Connective Conversations Lecture:
"Expanding the Canon: A Call for Curatorial Activism in 21st Century Museum"
Thursday, November 21, 2019
Julie Rodrigues Widholm is Director and Chief Curator of DePaul Art Museum where she leads the strategic and artistic vision to promote equity and interdisciplinary education in art museums. Prior to taking the helm at DPAM in September 2015, she was Curator at the Museum of Contemporary Art. She has organized more than 100 solo and group exhibitions, including Julia Fish: bound by spectrum, Brendan Fernandes: The Living Mask, Barbara Jones-Hogu: Resist, Relate, Unite, Rashid Johnson: Message to Our Folks, Doris Salcedo, ;Unbound: Contemporary Art after Frida Kahlo, Escultura Social: A New Generation of Art from Mexico City, which have been presented at museums across the U.S. such as DePaul Art Museum, MCA Chicago, the Solomon R. Guggenheim Museum, Perez Art Museum Miami, the Nasher Museum at Duke University, MIT List Visual Arts Center, among others. She grew up in Brazil, Mozambique, Portugal, Germany, and across the U.S.
Jennifer Dunlop Fletcher
“Wearables: Helpful or Harmful”
Due to unforeseen circumstances, this lecture has been canceled and will be rescheduled as soon as possible. We apologize for the inconvenience.
This presentation will begin with a review of two recent exhibitions Jennifer Dunlop Fletcher curated at SFMOMA, Far Out: Suits, Habs and Labs (2019) and Designed in California (2018), that include a trajectory of wearables from the spacesuit to personal health monitors. This presentation will also include newer wearables which dictate behavior and define well-being and will be followed by a conversation on who benefits from wearables, biodesign, and neuroaesthetics.
Jennifer Dunlop Fletcher is the Helen Hilton Raiser Curator of Architecture and Design and Head of the Department at the San Francisco Museum of Modern Art (SFMOMA). Since 2008, she has organized several key acquisitions and exhibitions with a focus on bold visionary works of design from the late 20th century to today. Her recent curatorial projects include Far Out: Suits, Habs and Labs for Outer Space (co-curator) (2019), The Sea Ranch: Architecture, Environment and Idealism (co-curator) (2018), Designed in California (2018), Typeface to Interface (co-curator) (2016) and forthcoming projects Tatiana Bilbao: Architecture from Outside In (2020), Conversation Pieces (2020) and Neri Oxman (2021). She holds a BA in Art History from New York University, a MA in Curatorial Studies from Bard College, and a MDes in Architecture History and Theory from Harvard University.
This lecture is sponsored by the following departments: Art, Architecture, History of Art and Architecture, and Product Design.
Namita Gupta Wiggers
“One Hundred Lifetimes and A Day”
Thursday, January 30, 2020
“Research is both process and product, and I want to practice different ways of telling the story of how craft research fills my days—and lengthens my years—with you.
A colleague of mine showed me how he reads a forest, pointing out what shows itself now after 100 years of growth, and mapping a vision of what will come 100 years from now. It brought sculptor James Surls to my mind, who once said, "I make objects. It takes so long. It would take me a lifetime to build just what I can dream in one day. I want a hundred lifetimes and one day."
For a decade, my days were about making exhibitions in a craft museum. Today, my work is about research. I develop a low-residency graduate program focused on craft histories and theory, where a day’s work of teaching may not surface for years. Now, my writing lives mostly in words, not spatial essays—and is not so photogenic.”—Namita Gupta Wiggers, 2019
Namita Gupta Wiggers is a writer, curator, and educator based in Portland, OR. She is the Director of the recently launched Master of Arts in Craft Studies at Warren Wilson College, North Carolina. She is the Director and Co-Founder of Critical Craft Forum, and from 2004–14, Wiggers served as Curator and then Director and Chief Curator, Museum of Contemporary Craft, Portland, OR. Wiggers contributes regularly to online and in-print journals and books. She serves on the Editorial Boards of Garland magazine and Norwegian Crafts. Recent curatorial projects include: Across the Table, Across the Land with Michael Strand for the National Council on Ceramic Education in the Arts; Everything Has Been Material for Scissors to Shape, a textile-focused exhibition at the Wing Luke Museum of Asian American Experience, Seattle; a forthcoming publication with Wiley Blackwell Publishers; and Gender + Adornment, an ongoing research project with Benjamin Lignel. Wiggers is the Center for Art Research's inaugural writer-in-residence for 2019–20.
“Building a Visual Vocabulary”
Thursday, February 20, 2020
“I work intuitively and analytically, building from a conceptual groundwork that questions language, semiotics, identity and gender. Drawing influence from Philip Guston, Audre Lorde, Louise Bourgeois and Eva Hesse, my work uses humor and sensibilities of the handmade to critique systems of power and absurdities of existence. My most recent body of work expanded from a 2017 printed zine titled Glossary of Terms and Symbols in which I created personal definitions for historically symbolic forms, such as infinity symbols, arches and knots. The new sculptures refer to symbols of intersection, such as hands interlocking, a foot stomping on mud, or water slipping between fingers. They capture my reaction to current political situations, specifically feelings of frustration, struggle, and a search for empathy. I consider the trajectory of my work to be one continuous body evoking movement and motion through universal symbols to address an overarching primordial narrative.”
—Julia Haft-Candell, 2019
Julia Haft-Candell (b. 1982, Oakland, CA) received a BA from University of California, Davis before graduating from the MFA program at California State University, Long Beach in 2010. She spent a summer residency in 2016 at the Skowhegan School of Painting & Sculpture, Madison, ME, and has been awarded multiple grants from the Center for Cultural Innovation and most recently the California Community Foundation Fellowship in 2019. Haft-Candell has been included in numerous solo and group exhibitions nationally, and is represented by Parrasch Heijnen Gallery in Los Angeles.
“Escapism: The Boundaries of Virtual Space”
Thursday, March 5, 2020
In this lecture, artist Theo Triantafyllidis will present recent work together with a sneak peek in current projects and behind the scenes material. The focus of the presentation will be on the use of the game engine as an artistic tool and the construction of alternative realities, performative systems and open narratives.
Theo Triantafyllidis (b. 1988, Athens, GR) is an artist who builds virtual spaces and the interfaces for the human body to inhabit them. He creates expansive worlds and complex systems where the virtual and the physical merge in uncanny, absurd, and poetic ways. These are often manifested as performances, virtual and augmented reality experiences, games, and interactive installations. He uses awkward interactions and precarious physics to invite the audience to embody, engage with, and challenge these other realities. Through the lens of monster theory, he investigates themes of isolation, sexuality, and violence in their visceral extremities. He offers computational humor and AI improvisation as a response to the tech industry’s agenda. He tries to give back to the online and gaming communities that he considers both the inspiration and context for his work by remaining an active participant and contributor. He holds an MFA from UCLA, Design Media Arts and a Diploma of Architecture from the National Technical University of Athens. He has shown work in museums, including the Hammer Museum in LA and NRW Forum in Dusseldorf, DE and various galleries such as Meredith Rosen Gallery, the Breeder, Sargent’s Daughters, and Young Projects. He was part of Hyper Pavilion in the 2017 Venice Biennale and the 2018 Athens Biennale: ANTI-. Theo Triantafyllidis is based in Los Angeles.
“before and since : on being ‘bound by spectrum’”
Thursday, April 9, 2020
Lawrence Hall, Room 177
This lecture is free and open to all.
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.
Davis Family Lecture
Thursday, April 16, 2020
Lawrence Hall, Room 177
This lecture is free and open to all.
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.
Carrie Mae Weems
An Evening with Carrie Mae Weems: Lecture, Remarks, and Honorary Degree Conferral
Thursday, April 23, 2020
Straub Hall, Room 156
This event is free and open to all.
Join the University of Oregon for an evening recognizing the work and influence of contemporary American artist Carrie Mae Weems. The event will include a public lecture and the conferral of an honorary degree to Weems by President Michael H. Schill and the UO Board of Trustees. A free public reception will be held at the Jordan Schnitzer Museum of Art following the event with open viewing of her exhibition, The Usual Suspects.
Office of the President
Jordan Schnitzer Museum of Art
Department of Art
Center for Art Research
Oregon Humanities Center
Division of Equity and Inclusion
Robert D. Clark Honors College
“Artist Lecture 2010-present”
Thursday, May 7, 2020
Lawrence Hall, Room 177
This lecture is free and open to all.
While the work of Calvin Marcus is not concerned in any overt way with his own biography, he is interested in artistic persona as it takes shape through carefully directed formal decisions and conceptual structures. The mixed-media paintings, sculptures, and drawings that result are notable for their iconic forms (dead soldiers, stylized self-portraits with devilish tongues, ceramic fish), meticulous attention to craft, and surreal humor, evincing a playfulness borne from variance among serial forms. Marcus draws attention to the pillars that support artistic endeavor as a whole, as well as the basic questions that often go unanswered when any artist chooses to display their output in a public setting. This has led him to produce works that also address the physical and institutional envelopes in which art is experienced.
Calvin Marcus (b.1988, San Francisco, CA) lives and works in Los Angeles. He received his MFA from UCLA in 2015. Solo exhibitions of his work have been held at The Power Station, Dallas; Peep-Hole, Milan; David Kordansky Gallery, Los Angeles and C L E A R I N G New York. His work has been featured in group exhibitions at Massimo De Carlo, London; Gagosian, Athens; Eva Presenhuber, Zurich; White Cube, London; and Greene Naftali, New York. Calvin Marcus’ work is part of the collections of The Whitney Museum, New York; MOCA, Los Angeles; MCA, Chicago; Fondation Louis Vuitton, Paris; MoMA, New York; K11, Hong Kong/Shanghai/Beijing; Astrup Fearnley, Oslo; Aishti Foundation, Beirut; and the Rubell Family Collection, Miami.
Fred H. C. Liang
Thursday, May 14, 2020
Lawrence Hall, Room 177
This lecture is free and open to all.
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.