Visiting Artist Lectures

The Visiting Artist Lecture Series, presented by the Department of Art and the Center for Art Research, 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.

Join the School of Art + Design email list to hear directly about upcoming lectures and events.

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

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
Thursday, October 22
Davis Family Lecture
John Mann
Thursday, October 29
Jenna Sutela
Thursday, November 5
Jess Perlitz
Thursday, November 12
Caroline Woolard
Thursday, November 19


Winter 2021

Fred H.C. Liang
Thursday, January 14
Jillian Mayer
Thursday, February 4
Laura Fritz
Thursday, February 11
Hamza Walker with
Mahfuz Sultan

Critical Conversations Lecture
Thursday, March 4

Spring 2021

Glenn Adamson
Thursday, April 8
Rebecca Morris
Thursday, April 22
Amir Zaki
Thursday, May 6
Natalie Ball
Thursday, May 20
Mario Ybarra Jr.
Fowler Lecture
Thursday, May 27

Simon Starling

Davis Family Lecture
“Regarding Time”

Thursday, October 22

Watch a video of the Simon Starling lecture on the UO Channel.

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.

"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

Watch a video of the John Mann lecture on the UO Channel.

“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.

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

John MannJohn Mann

Jenna Sutela


Thursday, November 5

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.

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

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).

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

Watch a video of the Caroline Woolard lecture on the UO Channel.

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.

artwork by Caroline WoolardCountermeasures: 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


This lecture was made possible by the Gordon W. Gilkey Endowed Fund.

Thursday, January 14

Watch a video of the Fred H. C. Liang lecture on the UO Channel.

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.

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.

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. Liang is also a 2020 Joan Mitchell Foundation Grant recipient.

Jillian Mayer

“Time To Chill”

Thursday, February 4

Mayer shares her works and ideas that speak to the fluid nature of her process as an artist. Identity formation, experience, digital vs analog environments, value, legacy, and dependency are just some of the themes that will likely be discussed. Mayer hopes this will be somewhat entertaining.

Jillian Mayer’s practice—spanning videos, sculptures, painting, photography, performances, and interactive installations—reflects upon how new technologies affect our sociality, bodies, identities, and conceptions of self. Throughout her work, Mayer models how to subvert capital-driven modes of technological innovation. By investigating the points of tension between our physical and virtual worlds, Mayer makes work that seeks to inhabit the increasingly porous boundary between the two.

Mayer has exhibited internationally at venues including MoMA and the Solomon R. Guggenheim Museum. Her work has been featured in Artforum, Art in America, and The New York Times. She is an alum of the Sundance Institute's New Frontiers Lab and a recipient of the Creative Capital Fellowship.

Jillian Mayer artSlumpie 62 - Pray Chair, 2017, 81 x 28 x 78 in, on Site at Ofelia Plads in Copenhagen, Photo by: Signe Ralkov, Photo Courtesy of David Castillo Gallery.

Jillian MayerJillian Mayer. Photo credit: Jillian Mayer.

Laura Fritz

“Mechanisms of Uncertainty”

Thursday, February 11

Watch a video of the Laura Fritz lecture on the UO Channel.

My installations meticulously cultivate the mechanisms and peculiarities of human cognition in response to uncertainty. They trigger embedded root sociological, anthropological, architectural and scientific cues through furniture, ergonomics, space, light and haunting animal activity. This stagecraft of untethering is designed to produce an expansive sense of empathy and investigation. Questions frame reality. What are the borders between science, nature and superstition? Is an object the cure or the disease? How do social protocols for the domestic, sacred or scientific intersect? Through these encounters with the unknown, viewers construct their understanding, a process psychologists call apophenia. — Laura Fritz, 2020

Laura Fritz is a Portland-based artist who works with a range of media, including, sculpture, video, and light. Her immersive installations explore the cognition of uncertainty. Her work Alvarium 2, currently on display in Laura Fritz/Rick Silva: Encounters at the Jordan Schnitzer Museum of Art (Eugene) presents a mysterious structure inhabited by a spectral swarm of bees. Recently, her Apex Series solo show at the Portland Art Museum explored surreal architecture, swarms, and the psychology of cognition. She has also exhibited at the Des Moines Art Center, Reed College, Portland; Soil, Seattle; Aljira Center for Contemporary Art, Newark, New Jersey; University of Oregon, Portland; and the Couture Stipend Series at the New American Art Union in Portland. Fritz received an Oregon Arts Commission Individual Artist Fellowship in the Visual Arts (2014). She holds a BFA from Drake University, and also attended the Pacific Northwest College of Art (CE program), Portland.

Co-sponsored by the Jordan Schnitzer Museum of Art and the Department of Art.

Laura Fritz artAlvarium 2, Photo credit: Jeff Jahn.

Laura FritzLaura Fritz. Photo credit: Jeff Jahn.

Hamza Walker with Mahfuz Sultan: Critical Conversations

Thursday, March 4, 4:00 p.m.

Watch a video of the lecture with Hamza Walker and Mahfuz Sultan on the UO Channel.

Hamza Walker is the director of the Los Angeles nonprofit art space LAXART and an adjunct professor at the School of Art Institute of Chicago. Prior to joining LAXART in 2016, he was director of education and associate curator at the Renaissance Society, a non-collecting contemporary art museum in Chicago, for 22 years where he organized numerous shows and public programming and wrote extensively on the field of contemporary art.

Notable shows at the Renaissance Society include “Suicide Narcissus” (2013), “Black Is, Black Ain’t” (2008) and “New Video, New Europe” (2004). In addition to his work at the Renaissance Society, Walker also co-curated the Made in L.A. 2016 biennial. He has won the Walter Hopps Award for Curatorial Achievement in 2014 and the prestigious Ordway Prize in 2010 for his significant impact on the field of contemporary art.

Mahfuz Sultan is an architect, writer, and founder of CLOCKS, a research and design practice based in Los Angeles.

The Visiting Artist Lecture Series is presented by the Department of Art and Center for Art Research. This lecture is made possible by the Critical Conversations program, a partnership between the Ford Family Foundation and the University of Oregon Department of Art's Center for Art Research.

Hamza Walker

Hamza WalkerHamza Walker and Mahfuz Sultan.

Glenn Adamson

“Craft in America: Real and Ideal”
Co-sponsored by the MFA Applied Craft + Design at PNCA

Thursday, April 8, 3:00 p.m.

Register for the Glenn Adamson lecture or join us on Facebook.

Free and open to the public.

Drawing from his new book, Craft: An American History, Glenn Adamson will engage in conversation with Anya Kivarkis. They will discuss the implication of race, gender and class in US craft history, and focus particularly on the relationship between craft’s economic and material presence, and its rich symbolic dimension. There are important differences between real and ideal, yet each influences the other in a complex exchange.

Glenn Adamson is a curator, writer and historian based in New York. He has previously been Director of the Museum of Arts and Design; Head of Research at the V&A; and Curator at the Chipstone Foundation in Milwaukee. Adamson’s publications include Thinking Through Craft (2007); The Craft Reader (2010); Postmodernism: Style and Subversion (2011, co-edited with Jane Pavitt); The Invention of Craft (2013); Art in the Making (2016, co-authored with Julia Bryan-Wilson; and Fewer Better Things: The Hidden Wisdom of Objects (2018). His newest book is Craft: An American History, published by Bloomsbury, and he is co-host of the online interview series Design in Dialogue.

book cover

Glenn Adamson

PNCA logo

Alison Saar and Hank Willis Thomas
in conversation with Hamza Walker

Thursday, April 15, 4:00 p.m.

Register for this lecture or join us on Facebook.

Free and open to the public.

Alison Saar’s prints and paintings address issues of race, gender and spirit. She studied art and art history at Scripps College and received an MFA from the Otis Art Institute. Her awards include a John Simon Guggenheim Memorial Foundation Fellowship, National Endowment Fellowships, and the United States Artists Fellowship. Saar has exhibited at many museums, including the Hirshhorn Museum and Sculpture Garden and the Whitney Museum of American Art, Her art is represented in the collections of the Hirshhorn Museum and Sculpture Garden, the Metropolitan Museum of Art and the Whitney Museum of American Art. She currently resides in Los Angeles and is represented by L A Louver Gallery.

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. Thomas’ first comprehensive survey Hank Willis Thomas: All Things Being Equal…opened in the fall of 2019 at the Portland Museum of Art in Portland, OR and traveled to Crystal Bridges Museum of Art in Bentonville, AR (February 8 – July 13, 2020) and ended at the Cincinnati Art Museum in Cincinnati, OH (September 4–November 8, 2020).

Made possible by the Jordan Schnitzer Family Foundation and presented by the Department of Art, Center for Art Research, Jordan Schnitzer Museum of Art, and Ford Family Foundation Critical Conversations Program in conjunction with the exhibition of works by Hank Willis Thomas and Alison Saar from the Collection of Jordan D. Schnitzer at the JSMA, on view through June 14, 2021.

Alison SaarAlison Saar Hank Willis ThomasHank Willis Thomas Hamza WalkerHamza Walker

Ford Family Foundation Visual Arts logo

Jordan Schnitzer Family Foundation logo

Jordan Schnitzer Museum of Art logo

Rebecca Morris

“Artist Talk”

Thursday, April 22, 4:00 p.m.

Register for the Rebecca Morris lecture or join us on Facebook.

Free and open to the public.

Rebecca Morris is an abstract painter whose work deeply investigates materials, form, processes, and outcomes. A showcase for her extensive arsenal of techniques and ideas, her ambitious large-scale canvases incorporate different manners of mark-making and inventively explore questions of frame dynamics and figure/ground illusions, often within a remarkably shallow pictorial space.

Rebecca Morris, b.1969 in Honolulu, Hawaii; lives in Los Angeles, California. BA, Smith College; MFA, The School of the Art Institute of Chicago; The Skowhegan School of Painting and Sculpture. She is a Professor in the Department of Art at the University of California, Los Angeles. Solo exhibitions include: Bortolami, NYC (2020); Blaffer Art Museum, Houston TX (2019); Mary Boone Gallery, NYC (2017); 356 S. Mission Rd, Los Angeles (2015); The Bonnefantenmuseum, The Netherlands (2014); Kunsthalle Lingen, Germany (2013); Galerie Barbara Weiss, Berlin (2017, 2013, 2009, 2006); Corbett vs. Dempsey, Chicago (2016, 2013); Harris Lieberman, New York (2012, 2010); The Renaissance Society, Chicago (2005); and Santa Monica Museum of Art (2003); forthcoming, ICALA, Los Angeles (2022). Group exhibitions include: “Made in LA” at the Hammer Museum, Los Angeles (2016); Whitney Biennial, NY (2014); Kunstmuseum St. Gallen, Switzerland; The Museum of Contemporary Art Los Angeles; Wexner Center for the Arts, Columbus, OH; Victoria Miro Gallery, London; Sammlung Goetz, Munich; David Zwirner Gallery, NYC; Galerie nächst St. Stephan, Vienna, Austria; The Hessel Art Museum at Bard College, Annandale-on-Hudson, NY; Museum of Contemporary Art, Chicago; Gavin Brown’s Enterprise, NYC; The Pit, CA. Morris was the recipient of a Guggenheim Fellowship, Tiffany Foundation; The California Community Foundation; The City of Los Angeles Individual Artist Award; The Durfee Foundation; Art Matters; and the Illinois Arts Council.

artwork by Rebecca MorrisInstallation View of solo exhibition at Bortolami Gallery, NYC , 2020.

Rebecca MorrisRebecca Morris, courtesy of Corbett vs Dempsey.

Amir Zaki

“Building & Becoming”

Thursday, May 6, 4:00 p.m.

Register for the Amir Zaki lecture or join us on Facebook.

Free and open to the public.

Amir Zaki has an ongoing interest in the rhetoric of authenticity, as it is associated with photography as an indexical media. Simultaneously, he is deeply invested in exploring digital technology’s transformative potential to disrupt that assumed authenticity. However, his interest is not in utilizing digital trickery as illustration to undermine a photograph’s veracity. In fact, Zaki often creates hybridized photographs that carefully use the vocabulary of the documentary style so that the viewer’s belief in its veracity remains intact, at least initially. He constructs scenes that are somewhat off-register, ‘out of key’, and ever so slightly faux. He often uses the architectural and organic landscape of California as a subject, as it seems particularly appropriate to his process. This is largely because, either through media myth, reality or a combination of the two, the architecture and surrounding landscape in California is itself an evolving bastardization of styles and forms, in other words a pastiche. California is home to a collision of high modernist ideals, suburban McMansions, high-rise density, endless asphalt grids, deserts, mountains, beaches, Los Angeles urbanism, Inland Empire sprawl, Orange Curtain conservatism, the Crystal Cathedral, and the Integratron. It should be made clear that although Zaki is fascinated and inspired by this architectural and cultural entropy, his intention is not to record, replicate or simply document a preexisting postmodern pastiche. More precisely, his work begins with the familiar, by looking at objects, structures and locations that are often pedestrian and banal. And by capitalizing on the presumed veracity that photographs continue to command, along with the transformative, yet invisible digital alterations he employs, his images depict structures that that aspire to be added to the list of the hodge-podge built landscape that creates the California mythology.

artwork by Amir Zaki Empty Vessel Installation View, Doyle Arts Pavilion. Photo Credit: Amir Zaki.

Amir ZakiAmir Zaki. Photo Credit: Ian Byers-Gamber.

Amir Zaki is a practicing artist living in Southern California. He received his MFA from UCLA in 1999 and has been regularly exhibiting nationally and internationally since. Zaki has had over 30 solo exhibitions at institutions and galleries including the Mak Center Schindler House, the Doyle Arts Pavilion, the Dalian Modern Museum (China), ACME gallery, Perry Rubenstein Gallery, James Harris GalleryEdward Cella Art & Architecture, and Roberts Projects (formerly Roberts and Tilton). He has been included in over 50 group exhibitions in significant venues including The California Biennial: 2006 at the Orange County Museum of Art, the Whitney Museum of American Art in New York, Andreas Grimm Gallery in Munich, Germany, Harris Lieberman Gallery in New York, Flag Art Foundation in New York, Western Bridge in Seattle, Shane Campbell Gallery in Chicago, the California Museum of PhotographyMuseum of Photographic Arts in San Diego, the San Jose Museum of Art, and the Nevada Museum of Art. Zaki’s work is part of numerous public and private collections across the country including the Whitney Museum of American ArtNew Museum of Contemporary ArtLos Angeles County Museum of Art (LACMA)UCLA Hammer Museum, the Henry Art Gallery in Seattle, Washington, the Orange County museum of Art, and the Santa Barbara Museum of Art. Zaki has three monographs, VLHV (2003), Eleven Minus One (2010) and California Concrete: A Landscape of Skateparks (2019). He has been included in a Phaidon Press anthology of contemporary photography called Vitamin Ph and contributed essays to LACMA’s groundbreaking text, Words Without Pictures. He has been included in both an Aperture anthology organized by Charlotte Cotton called Photography is Magic, which addresses a major technological shift in contemporary photographic practices, as well as the anthology entitled Both Sides of Sunset: Photographing Los Angeles.

Natalie Ball

“Power Objects”

Thursday, May 20, 4:00 p.m.

Register for the Natalie Ball lecture or join us on Facebook.

Free and open to the public.

Natalie Ball was born and raised in Portland, Oregon. She has a Bachelor’s degree with a double major in Ethnic Studies and Art from the University of Oregon. She furthered her education in New Zealand at Massey University where she attained her Master’s degree, focusing on Indigenous contemporary art. Ball then relocated to her ancestral homelands to raise her three children. Her work has been shown nationally and internationally, including the Half Gallery, NY; Vancouver Art Gallery, BC; Blum & Poe, LA; Portland Art Museum, OR; Gagosian, NY; Seattle Art Museum, WA; Almine Rech Gallery, FR; and SculptureCenter, NY. Natalie attained her M.F.A. degree in Painting & Printmaking at Yale School of Art in 2018. She is the recipient of the 2020 Bonnie Bronson Award, 2020 Joan Mitchell Painters & Sculptors Grant, 2019 Pollock-Krasner Foundation Grant, and the 2018 Betty Bowen Award from the Seattle Art Museum.

artwork by Natalie Ball Bang Bang, 2019. Image courtesy of the Rubell Museum and Artist.

Natalie BallNatalie Ball. Photo credit: Walters Photographer, Pendleton, OR.

Mario Ybarra Jr.

George and Matilda Fowler Lecture
“I Did It for Revenge!”

Thursday, May 27, 5:00 p.m.

Live on zoom. Free and open to the public.

Register for the Mario Ybarra Jr. lecture or join us on Facebook.

Mario will discuss some of his past projects and discuss the important role of the individual and collaborative artist in relationship to creating and in finding ways to tell one's family's stories and other marginalized narratives that have guided his artistic practice. He will engage audiences in creative strategies/tools for thinking and making Art.

Mario Ybarra Jr., is a visual and performance artist, educator, and activist who combines street culture with fine art in order to produce what he calls “contemporary art that is filtered through a Mexican-American experience in Los Angeles.” His work has been included in many group exhibitions, including Installations Inside/Out: Armory 20th Anniversary Exhibition, Armory Center for the Arts, Pasadena, California; San Juan Poly/Graphic Triennial of the Instituto de Cultura Puertorriqueña, San Juan, Puerto Rico; Phantom Sightings: Art After the Chicano Movement, Los Angeles County Museum of Art, Los Angeles, California; and Whitney Biennial, Whitney Museum of American Art, New York, New York (2008). He is co-founder of an artist run organization located in the Harbor area of Los Angeles, called Slanguage Studio (2002–present).

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

Mario Ybarra Jr. artwork Like A Cow Visiting a Butchershop…, 2013, Mixed Media, Dimensions Variable, ARCO Fair, Madrid Spain, image courtesy of Honor Fraser Gallery.

Mario Ybarra Jr.Mario Ybarra, Jr. Photo credit: Lluvia Higuera.

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