Visiting Artist Lectures

The Department of Art Visiting Artist Lecture Series exposes our students and community-at-large 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. All lectures are free and open to the public.

Fall lectures begin at 6:00 p.m. in Lawrence Hall, room 177. Winter lectures begin at 4:00 p.m. in Lawrence Hall, room 115. Lawrence Hall is located at 1190 Franklin Boulevard, Eugene, OR, 97403.

Visit 5 Minutes for conversations between Visiting Artists and MFA candidates and the UO Channel for a video archive of recent lectures.

Register for ART 407 to receive 1 credit for attending lectures. No prerequisite is required.

The 2018-19 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 Department of English/Moore Fund, the Department of Landscape Architecture and the Connective Conversations | Inside Oregon Art Program, a partnership between the Ford Family Foundation and the University of Oregon School of Art + Design.

2018–19 Visiting Artist Lecture Series

Winter 2019

Steffani Jemison
January 17
Megan Foster
January 24
Whitney Hubbs
February 7
Amy Franceschini
February 14
Shadi Harouni
March 7

Spring 2019

Davis Family Lecture

April 25


Tuan Andrew Nguyen

“Not Seeing is Believing”

Thursday, October 4, 2018

Watch a video of Tuan Andrew Nguyen's lecture

Tuan Andrew Nguyen’s lecture will look at the idea of supernaturalisms as a form of resistance. Starting with a film he made with The Propeller Group called The Living Need Light, The Dead Need Music, Nguyen will trace this idea through two of his recent films and his newest film project for the Sharjah Biennial 2019.

Tuan Andrew Nguyen graduated from the Fine Arts program at the University of California, Irvine in 1999 and received his Masters of Fine Arts from The California Institute of the Arts in 2004. His work explores strategies of political resistance through ritual, the making of objects [both as testimony and as devotion], supernaturalism and the impact of mass media on these moments of resistance. In his continual attempts at reworking the power dynamics of public space and mass media in general, he initiated The Propeller Group in 2006, a platform for collectivity that situates itself between an art collective and an advertising company. He was also a co-founder and board member of Sàn Art, an artist-initiated exhibition space and educational program in Sai Gon, Viet Nam.

This lecture is made possible by the George and Matilda Fowler Endowment Fund.

This lecture is free and open to all.

The Island (film still). Photo credit: TANQ studiosThe Island (film still), 2017, 2048 x 1080p, color, 5.1 surround sound; 42 min. Photo credit: TANQ studios.

Tuan Andrew Nguyen. Photo credit: Huynh Ngo Van Anh.Tuan Andrew Nguyen. Photo credit: Huynh Ngo Van Anh.

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Shana Moulton

“Welcome to Whispering Pines”

Thursday, October 11, 2018

Watch a video of Shana Moulton's lecture

Over the past 15 years Shana Moulton has been developing her ongoing video/performance series Whispering Pines, in which she plays the role of "Cynthia", both a fictional figure and the artist's alter ego. This talk will present a chronological-anecdotal outline of Moulton's work and forces that shaped it, with video and performance highlights.

Shana Moulton is a California born and based artist who works in video, performance, and installation. In 2002, she began the video series Whispering Pines, in which she performs as Cynthia, both an alter-ego and an avatar for the artist when she is alone. Moulton has had solo exhibitions at the Palais De Tokyo, Yerba Buena Center for the Arts, Fondazione Morra Greco, Kunsthaus Glarus, and a retrospective of work at The Museum of Fine Arts in St. Petersburg. She has performed and screened videos at MoMA, The New Museum of Contemporary Art, Performa 2009, The Kitchen, Art in General, The Andy Warhol Museum, SFMOMA, The Hammer Museum and Cricoteka, among many others. Her work is distributed by Electronic Arts Intermix and she is a featured artist on Art21’s New York Close Up.

This lecture is free and open to all.

Performance at Fondazione Morra Greco, 2013, Photo credit: Marie LusaPerformance at Fondazione Morra Greco, 2013. Photo credit: Marie Lusa.

Shana MoultonShana Moulton

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Daniel Canty

“Extracts from Patience”

Thursday, October 18, 2018

Watch a video of Daniel Canty's lecture

Every work evolves a form. In this artist presentation, Daniel Canty will attempt to untangle some of the threads that course through his works. Mapping imbricated orbits, tracking transformations of scale, he will endeavour, through the telling, to expose the lines of force of his poetics, which takes the wonders of the written word as its starting point, and modulates their wavelength into a host of living forms. There will be talk of the fidelity to images, of mise en livreand electric art, naïve science and chains of chance, of the aesthetics of friendship and a very loose doctrine of cycles. He will try to expose how the poetics of language, of taking one thing for another, and coming up with something else, can lead one back into the thick of things, to touch the texture of time.

Daniel Canty is a writer, director and artist living in Montréal, Québec. He started producing works on the cusp of the new century. His directorial debut was an online adaptation of Alan Lightman’s fiction,Einstein’s Dreams, his first book, a history of automata in 19th century American literature. Since then, he has been creating a host of living forms, working at the crossroads of literature and bookmaking, film and theatre, the visual arts and design. His practice, which stems from the poetics of writing, and the ethics of directing, extends the written word’s wavelength to encompass a vast range of possibilities. He is fond of works that invent their own form. Over the years, he has written and devised an astonishing array of books and films, interfaces and exhibitions, and collaborated on such improbabilities as “transfrontier odysseys” or librettos for automata. He is steadfastly mapping a universe where the enchantments of language assert their import in the weave of time.

This lecture is free and open to all.

L'été opalescent, 2016, 177 pages, by Daniel Canty.L'été opalescent, 2016, 177 pages, by Daniel Canty.

Daniel Canty. Photo credit: Benoit Aquin, 2017.Daniel Canty. Photo credit: Benoit Aquin, 2017.


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Shannon R. Stratton

“Meditations on Unmaking”

Thursday, October 25, 2018

Watch a video of Shannon R. Stratton's lecture

Shannon R. Stratton will present a lecture on work as a curator, founder of a visual arts not-for-profit and co-creator of multiple visual arts platforms. With a studio art background in fiber, Stratton will talk about how her craft training has informed her work as a curator/producer/administrator and how sometimes platforms need to be un-made in order to discover a new use-value.

Shannon R. Stratton is the William and Mildred Lasdon Chief Curator at the Museum of Arts and Design in New York. She has worked in the visual arts as an artist, writer, curator, professor, publisher and arts administrator with an emphasis on artist-run initiatives and concepts in contemporary craft. After completing her MFA in 2003 she co-founded the artist-run organization, Threewalls (Chicago), where she was artistic and then executive director for 12 years. At Threewalls, she organized exhibitions with over 100 artists; created The Propeller Fund award in collaboration with Gallery 400 for artist’s self-organizing; conceived and published 4 volumes of PHONEBOOK, a national guide to grass-roots and artist-run organizations across the US; and co-organized the first Hand-in-Glove conference which would lead to the founding of Common Field, a national organization in support of artist-focused organizations. In 2015 she left Threewalls to assume the role of Chief Curator at The Museum of Arts and Design in New York and pursue her interest in the future of craft. At MAD she has reimagined the artistic vision of the institution, programming the exhibition calendar, including curating eight exhibitions, from fall 2015 until present. She continues to organize exhibitions independently, with a particular research interest in expanded concepts of the self-taught and grass-roots cultural production.

This lecture is free and open to all.

Installation view of In Time (The Rhythm of the Workshop) at MAD in 2016 with The Unstable Object II, 2015 by Daniel Eisenberg. Photo credit: Butcher Walsh, courtesy of the Museum of Arts and Design.Installation view of In Time (The Rhythm of the Workshop) at MAD in 2016 with The Unstable Object II, 2015 by Daniel Eisenberg. Photo credit: Butcher Walsh, courtesy of the Museum of Arts and Design.

Shannon R. Stratton. Photo credit: Jenny Walters.Shannon R. Stratton. Photo credit: Jenny Walters.

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Ebitenyefa Baralaye

“Fragments: Deconstructed Narratives, Forms, and Contexts”

Thursday, November 1, 2018

Watch a video of Ebitenyefa Baralaye's lecture

Narratives, objects and spaces are processed and understood through their parts. Whether deconstructing a life, a city, a tool, or a sentence, the fragmented nature of things both proceed and conclude cycles of identity and meaning. Ebitenyefa Baralaye will discuss his work and shifting narratives around the things we build, use, and break. Baralaye’s work explores overlaps in personal, spiritual, and cultural semiotics and considers how material, form, and context together mediate our sense of social and psychological presence.

Ebitenyefa Baralaye is a ceramist, sculptor, and designer. His work explores cultural, spiritual, and material translations in form/objects, text, and symbols interpreted through a diaspora lens and abstracted around the aesthetics of craft and design. Baralaye received a BFA in Ceramics from the Rhode Island School of Design and a MFA in Ceramics from the Cranbrook Academy of Art. Baralaye was an Emerging Artists Program recipient at the Museum of the African Diaspora in 2017 and recently an AICAD Teaching Fellow at the San Francisco Art Institute.

This lecture is free and open to all.

ContAxts (Tenderloin), 2017, stoneware, glaze, environmentContAxts (Tenderloin), 2017, stoneware, glaze, environment.

Ebitenyefa BaralayeEbitenyefa Baralaye

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Alexandria Eregbu

“Finding Ijeoma: Entering the Marvelous Journey”

Tuesday, November 6, 2018

Watch a video of Alexandria Eregbu's lecture

For this lecture, Alexandria Eregbu walks us through her creative process as a multidisciplinary artist. She begins with her middle name, ‘Ijeoma’ an Igbo name that is traditionally given from Nigerian fathers to their daughters, meaning ‘safe or good journey.’ Here, Eregbu draws connections between personal, familial, and diasporic histories that have emerged within her artistic practice. In doing so, Eregbu further examines the role that origin stories and community storytelling have played in her commitment to narrative/world building—forums which the artist believes, lead to the preservation and empowerment of the individual and collective spirit. Topics addressed in this lecture include: 1.) Materiality + Textile Studies 2.) Visual Communication + Design in Nature 3.) West African Performance, Art, + Philosophy 4.) Surrealist Discourse + The Marvelous.

Alexandria Eregbu is a visual artist and independent curator. At her core, Alexandria is most passionate about re-imagining 21st century possibilities for creative practice through service and support structures that promote sustainability and accessibility for artists and communities engaging the arts. As an artist, her practice has illuminated pathways globally, nationally, and throughout the Midwest. She has held fellowships with ACRE (Steuben, WI); HATCH Projects, Stony Island Arts Bank, (Chicago, IL); The Center for Afrofuturist Studies (Iowa City, IA), Independent Curators International (New Orleans, New York City, Martinique); and The Camargo Foundation/3Arts Residency (France). Among her curatorial projects includes du monde noir, an artistically run collective which seeks to identify contemporary evidences of Surrealist activity produced by visual artists and writers of the African diaspora in the U.S. and abroad. Forthcoming projects include Oh, Heavenly Father, Mother Ocean, and Cosmic Seed…! her solo show at Ditch Projects in Eugene, OR.

*Note this lecture is on a Tuesday.

This lecture is made possible in part by the Fibers Foundation. This lecture is free and open to all.

She Who Carries Weight, performance, 2017. Photo Credit: RJ Eldridge.She Who Carries Weight, performance, 2017. Photo Credit: RJ Eldridge

Alexandria EregbuAlexandria Eregbu. Photo credit: RJ Eldridge

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Julia Bryan-Wilson

“Bruce Nauman: Queer Homophobia”

Thursday, November 8, 2018
6:00 p.m.
Lawrence Hall, Room 177

Julia Bryan-Wilson is the Doris and Clarence Malo Professor of Modern and Contemporary Art at the University of California, Berkeley; she is also the Director of the UC Berkeley Arts Research Center.  She is the author of Art Workers: Radical Practice in the Vietnam War Era (2009); Art in the Making: Artists and Their Materials from the Studio to Crowdsourcing (2016); and Fray: Art and Textile Politics (2017), which was awarded the 2018 Robert Motherwell Book Prize.  Bryan-Wilson’s influential writings on feminist and queer theory, craft histories, and contemporary art in the Americas have been widely published in venues that include Afterall, Artforum, Art Bulletin, Bookforum, differences, Grey Room, October, Oxford Art Journal, and Parkett, and she is the cocurator of the traveling exhibition Cecilia Vicuña: About to Happen. 

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. This lecture is free and open to all.

Julia Bryan-Wilson

Bruce Nauman, Run from Fear, Fun from Rear, 1972, Neon, Part a: 8 × 46 × 2 1/4 in. part b: 7 1/4 × 44 1/2 × 2 1/4 in.Bruce Nauman, Run from Fear, Fun from Rear, 1972, Neon, Part a: 8 × 46 × 2 1/4 in. part b: 7 1/4 × 44 1/2 × 2 1/4 in.

Julia Bryan-WilsonJulia Bryan-Wilson

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