2017–18 Visiting Artist Lecture Series
“The Properties of Paint and Painting as a Ledger of Time”
October 5, 2017
This lecture is made possible in part by the the Gordon W. Gilkey Endowed Fund and co-hosted by the Department of the History of Art and Architecture.
“Every morning I walk to the studio before the sun comes up. Five years ago, on that walk, a meteorite streaked overhead and lit everything like day. It was a terrifying and wonderful moment. Painting is that same experience. The bits and details of that flash of brilliant clarity would pass by if not for the practice of painting. A painting is a structure for the extraordinary and informative events of nature that are otherwise invisible.” – James Lavadour, 2013
Born in 1951, James Lavadour is one of the Northwest’s most revered living painters. Lavadour’s family are descendants of the Walla Walla tribe of the modern day Confederated Tribes of the Umatilla Indian Reservation. He has lived his life in Northeastern Oregon where he is an enrolled tribal member and has lived and worked on the reservation for the past 38 years. His sense of service and commitment to the tribal community have lead him to work for the tribal government in education, housing, alcohol and drug treatment, and natural resource management. In 1993 Lavadour and a group of supporters founded Crow’s Shadow Institute for the Arts, a not for profit print studio/arts organization that provides a creative conduit for social, economic, and educational opportunities to Native Americans through artistic development.
James Lavadour’s work was featured as one of only 102 artists selected for the Crystal Bridges Museum of American Art’s seminal survey exhibition, State of the Art: Discovering American Art Now and at the 55th Venice Biennale in Personal Structures.
His works are included in the collections of the Smithsonian National Museum of the American Indian, Washington DC; the Crystal Bridges Museum of American Art, Bentonville, AK; the Seattle Art Museum, Seattle, WA; the Portland Art Museum, Portland, OR; the Tacoma Art Museum, Tacoma, WA; the Boise Art Museum, Boise, ID; the Eiteljorg Museum, Indianapolis, IN; the Hallie Ford Museum, Salem, OR; the Hood Museum, Hanover, NH; Bank of America, San Francisco, CA; the Microsoft Corporation, Redmond, WA as well as numerous private collections.
“After the Contemporary”
October 12, 2017
William Powhida will discuss his recent show “After the Contemporary” at the Aldrich Contemporary Museum of Art. The exhibition was the artist’s first museum solo show and offered a fictive survey of The Contemporary, a period of art history from 2000–2025 defined by the expansion of the art market. The exhibition also included a retrospective of the artist’s works from 2004–2047, made possibly by the 2050 setting of the exhibition. The lecture will cover works included in the show as well previous exhibitions and projects that informed “After the Contemporary”.
William Powhida makes fun of the art world to highlight the paradoxes and absurdities of economic and social value systems that keep the sphere of visual art afloat on a tide of inequality. His work relies on research and participation to diagram, list, perform and critique the forces that shape perceptions of value. He is responsible or partly responsible for exhibitions including "Overculture" at Postmasters Gallery, "Bill by Bill" at Charlie James Gallery, "POWHIDA" at Marlborough Gallery and "#class" at Winkleman Gallery.
Powhida is also an infrequent contributor to ArtFCity and Hyperallergic on issues that alarm him. His complicit criticism has been rewarded with gallery representation, numerous exhibitions and critical debate. He was born in 1976 in upstate New York and still lives and works in New York City despite the crushing cost of living and working. He is represented by Postmasters Gallery in New York, Charlie James Gallery in Los Angeles, Gallery Poulsen in Copenhagen, and Platform Gallery in Seattle.
George and Matilda Fowler Lecture
October 19, 2017
Stanya Kahn is an interdisciplinary artist working primarily in video with a practice that includes performance, writing, sound, drawing, painting and ceramics. Humor, pathos and the uncanny emerge as central modes in a hybrid media practice that seeks to re-work relationships between fiction and document, the real and the hyper-real, satire and sincerity, narrative time and the synchronic time of impulse.
Kahn is a 2012 Guggenheim Fellow in Film/Video. Recent exhibitions include Marlborough Contemporary, NY; Susanne Vielmetter, Los Angeles; Weiss Berlin; Cornerhouse, Manchester, UK; the New Museum, New York, NY; and the Brooklyn Academy of Music, New York. She has shown at the Hammer Museum, Los Angeles; the Museum of Contemporary Art, San Diego, CA; the2010 California Biennial; and Rodeo, London, UK recently. Her collaborative work with Harry Dodge has shown at Elizabeth Dee Gallery, New York; the 2008 Whitney Biennial; the Sundance Film Festival; the Museum of Contemporary Art, Los Angeles; the Museum of Modenr Art, New York; ZKM Karlsrühe; among others. She was a contributing writer, performer and costumer on the feature film By Hook or By Crook. Her writings and drawings are in multiple publications including Die Laughing (2nd Cannons Publications), It's Cool, I'm Good (Cornerhouse Publications), Abstract Video (University of California Press), among others.
“50 Years: Learning to Be an Artist”
October 26, 2017
“I am an artist, and collector of visual sensation. Observation, for me, is a critical tool for identifying spaces between mass culture and the individual. Daily errands, chores, and daily exchanges for carrying out getting from A to B are the vehicle for examination. For me, art takes place in these gaps. Specific gaps which define a present situation, personal or global which is always moving. Moving fast, out of grasp, constant flowing information, changing always. Art, for me, happens in conjunction with decoration, and is always fighting decoration. The activity of the agreement of art and decoration, or the battle of it are truly engaging for me.” - Nancy Shaver
Nancy Shaver is faculty at the Milton Avery School of Graduate Studies, Bard College. Shaver's work was presented in a solo show at Derek Eller Gallery in summer 2016. She has been part of the Greater New York show 2015 MoMA PS 1, Queens, NY as well as in Robert Gober's "The Heart Is Not a Metaphor" at MoMA, New York, NY. She currently has work in VIVA ARTE VIVA! the 57th Venice Biennale 2017. She has received a Guggenheim Foundation Fellowship, Louis Comfort Tiffany Award, and Anonymous Was A Woman award. She has been in collaboration with Maximilian Goldfarb and Allyson Strafella to present art in an experimental viewing station in Hudson, New York called Incident Report for the last 10 years.
Shaver lives and works in Jefferson and Hudson, New York.
“Live Through This: The Fate of Public Voices”
November 14, 2017
Jan Verwoert will address the existential condition of critical writing. "The model of one person passing judgment on others has become ridiculous,” he says. "Art, life, politics—we're in it together after all, even and especially now that societies are forcefully split. What does it take for a voice to articulate intuitions and observations in a manner that allows for very different people to relate to a public thinking process? Urban satire can do it. Is this because laughing at the state of the world awakens a sense of grotesque, yet fateful connectedness?"
Jan Verwoert is a critic and writer on contemporary art and cultural theory, based in Berlin. His writing has appeared in different journals, anthologies and monographs. He teaches at the Piet Zwart Institute Rotterdam. He is a professor for theory at the Oslo National Academy of the Arts and guest professor at the UdK Graduate School, Berlin. He is the author of Bas Jan Ader: In Search of the Miraculous, MIT Press/Afterall Books 2006, the essay collection Tell Me What You Want What You Really Really Want, Sternberg Press/Piet Zwart Institute 2010, together with Michael Stevenson, Animal Spirits — Fables in the Parlance of Our Time, Christoph Keller Editions, JRP, Zurich 2013, a second collection of his essays Cookie! published by Sternberg Press/Piet Zwart Institute 2014 and editor of the anthology on artistic knowledge No New Kind of Duck — Would I know how to say what I do?, Diaphanes & UdK Graduate School, Zurich-Berlin 2016.
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.
"California Soul: The Vessel Tradition in the Work of Peter Voulkos and June Schwarcz”
January 18, 2018
Jenni Sorkin is Associate Professor of Contemporary Art History at University of California, Santa Barbara. She holds a PhD in the History of Art from Yale University.
Sorkin writes on the intersection between gender, material culture, and contemporary art. Her book, Live Form: Women, Ceramics and Community was published by University of Chicago Press in 2016. She has also published widely as an art critic, and her writing has appeared in Artforum, Art Journal, Art Monthly, NU: The Nordic Art Review, Frieze, The Journal of Modern Craft, Modern Painters, and Third Text. She has written numerous in-depth catalog essays on feminist art and material culture topics, and lectures nationally and internationally.
Special thanks to the Department of the History of Art and Architecture for their support.
Wendy Red Star
“A Selection of Works”
February 8, 2018
Artist Wendy Red Star will present a chronological look at major past works starting in 2006 to 2017. Red Star works across disciplines to explore the intersections of Native American ideologies and colonialist structures, both historically and in contemporary society. Raised on the Apsáalooke (Crow) reservation in Montana, Red Star’s work is informed both by her cultural heritage and her engagement with many forms of creative expression, including photography, sculpture, video, fiber arts, and performance. An avid researcher of archives and historical narratives, Red Star seeks to incorporate and recast her research, offering new and unexpected perspectives in work that is at once inquisitive, witty and unsettling. Intergenerational collaborative work is integral to her practice, along with creating a forum for the expression of Native women’s voices in contemporary art.
Red Star has exhibited in the United States and abroad at venues including the Metropolitan Museum of Art, Fondation Cartier pour l’ Art Contemporain, Domaine de Kerguéhennec, Portland Art Museum, Hood Art Museum, St. Louis Art Museum, and the Minneapolis Institute of Art, among others. She served a visiting lecturer at institutions including Yale University, the Figge Art Museum, the Banff Centre, National Gallery of Victoria in Melbourne, Dartmouth College, CalArts, Flagler College, Fairhaven College, and I.D.E.A. Space in Colorado Springs. In 2015, Red Star was awarded an Emerging Artist Grant from the Joan Mitchell Foundation. In 2016, she participated in Contemporary Native Photographers and the Edward Curtis Legacy at the Portland Art Museum, and recently mounted a solo exhibition as part of the museum’s APEX series. Red Star holds a BFA from Montana State University, Bozeman, and an MFA in sculpture from University of California, Los Angeles. She lives and works in Portland, OR.
This lecture is made possible in part by the Gordon W. Gilkey Endowed Fund, the Department of Art, the Department of the History of Art and Architecture, and the Jordan Schnitzer Museum of Art.
“Scenes from ‘One Wall a Web’”
February 22, 2018
Stanley Wolukau-Wanambwa will lecture about intersections between pictures and words. Wolukau-Wanambwa is a photographer, writer and teacher based in New York City. He is the former editor of the contemporary photography website The Great Leap Sideways (2011—2017), contributed essays to catalogues and monographs by Vanessa Winship, George Georgiou, and Paul Graham, was an artist-in-residence at Light Work, guest edited the Aperture Photobook Review, and wrote for Aperture, FOAM magazine and The Photographer’s Gallery.
Wolukau-Wanambwa has a BA in Philosophy & French from Oxford University, UK and an MFA in Photography from Virginia Commonwealth University. His photographic work addresses questions of patriarchy, race, history, and identity.
“Language as Sneeze”
March 8, 2018
Karthik Pandian will touch on the involuntary in art and how it has inflected his work from monument to animal choreography. Pandian makes works in moving image, sculpture and performance. He has held solo exhibitions at the Whitney Museum of American Art; Bétonsalon, Paris, Midway Contemporary Art, Minneapolis and White Flag Projects, St. Louis, amongst others.
His work was featured in the inaugural LA Biennial at the Hammer Museum and La Triennale: Intense Proximity at the Palais de Tokyo as well as in group exhibitions such as Adventures of the Black Square: Abstract Art and Society 1915-2015, at Whitechapel Gallery; Film as Sculpture at Wiels Contemporary Art Centre, Brussels; and the 4th Marrakech Biennial, Higher Atlas. He has recently been touring his first stage performance – a collaboration with choreographer Andros Zins-Browne – at theaters throughout the US and Europe.
Pandian holds an MFA from Art Center College of Design and a BA from Brown University. In 2011, he was the recipient of a Louis Comfort Tiffany Foundation Award. Pandian is currently Assistant Professor of Visual and Environmental Studies at Harvard University, Cambridge, MA.
“Weird Wars and Other Battles”
April 12, 2018
Mike Andrews is an Adjunct Professor in the Department of Fiber and Material Studies at the School of the Art Institute of Chicago and is the Executive and Creative Director at the Ox-Bow School of Art and Artists’ Residency. Andrews received a BFA from SAIC and MFA from Cranbrook Academy of Art.
Fueled by dynamic relationships between bright and dull colors, hard and soft materials and a range of scale, his sculptures and tapestries pointedly occupy the gallery. His work is informed by the grandeur of historical tapestries, non-representational abstract painting, and the delirium of home craft. His tapestries simultaneously function as both object and image.
“Welcome to Whispering Pines”
Due to unforeseen circumstances, this lecture has been canceled. We apologize for the inconvenience.
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 lives and works near Yosemite, California. Moulton has had solo exhibitions or performances at The New Museum, SFMOMA, MoMA P.S.1, Performa 2009, The Kitchen, Electronic Arts Intermix, Art in General, The Andy Warhol Museum, The Migros Museum in Zurich, The Palais de Tokyo in Paris and the Times Museum in Guangzhou. Moulton's work has been reviewed in the Village Voice, Artforum, the Brooklyn Rail, the New York Times, Artnet Magazine, Frieze Magazine, Art Review, Artpress and Flash Art. She is a featured artist at Electronic Arts Intermix and Art21.
Parcours Night, Office approx 21 x 14 cm-ABB17, Shana Moulton, PR, 0018, Courtesy of Art Basel.
Anna Sew Hoy
Davis Family Lecture
“Psychic Body Grotto and Sculpture Outdoors”
April 26, 2018
Anna Sew Hoy lives and works in Los Angeles. She has produced solo projects at the Aspen Art Museum in 2015 and the San Jose Museum of Art in 2011. She has exhibited at the Hammer Museum, LAXART, and Various Small Fires, Los Angeles; Koenig & Clinton, NY; and the 2008 California Biennial among others. Her work is in the collections of the Hammer Museum, SFMOMA, LACMA, and the Museum of Contemporary Art in San Diego. Sew Hoy was awarded a Creative Capital Grant for Visual Arts in 2015, the California Community Foundation Grant for Emerging Artists in 2013 and the United States Artists Broad Fellowship in 2006.
Sew Hoy received her MFA from Bard College in 2008.
This lecture is made possible by the Davis Family Fund.
Psychic Body Grotto, 2016, Credit: Photo by Jeff Mclane.
Anna Sew Hoy. Photo by Hedi Slimane.
Crystal Z Campbell
“Lost and Found: The Work of Art in the Age of Digital Regret”
May 10, 2018
Crystal Z Campbell considers the internet as the site in which everything and nothing can be erased––prompting questions about what stories these digitally curated remains can reveal for progeny. Campbell's creative practice uses found footage or historical references, often gleaned from both tangible archives and internet sources. These narratives of yesteryear are often processed through film, light, sound, performance, installation, ceramics, painting, writing, and community projects to interrogate present notions of justice and the politics of witnessing. Most recently, Campbell has investigated Henrietta Lacks' immortal cell line, the 1921 Tulsa Race Massacre, and gentrification. Campbell uses art as a tool for transmitting historical memory, time-travel, and proposing social change.
Crystal Z Campbell is an interdisciplinary artist and writer of African-American, Filipino & Chinese descents. Campbell's work has been exhibited and screened internationally: ICA Philadelphia (US), Artericambi (IT), Artissima (IT), Studio Museum of Harlem (US), Futura Contemporary (CZ), Project Row Houses in Texas (US), Children's Museum of San Diego (US), Art Rotterdam (NL), de Appel Arts Centre (NL) and SculptureCenter (US) amongst others. Selected honors and awards include Pollock-Krasner MacDowell Colony Fellow, Skowhegan School of Painting and Sculpture, Rijksakademie van beeldende Kunsten, Whitney Museum's Independent Study Program Van Lier Fellowship, Sommerakademie Paul Klee, Amsterdam Fonds voor de Kunst, Mondriaan Fonds, Fondazione Ratti and a recent Smithsonian Fellowship. Campbell is a currently a second-year Tulsa Artist Fellow in Tulsa, Oklahoma.
“On Digital Colonialism and Monstrosity”
May 17, 2018
Morehshin Allahyari is an artist, activist, educator, and occasional curator. She is the recipient of the leading global thinkers of 2016 award by Foreign Policy magazine. Allahyari was born and raised in Iran and moved to the United States in 2007. Her work deals with the political, social, and cultural contradictions we face every day. She thinks about technology as a philosophical toolset to reflect on objects and as a poetic means to document our personal and collective lives struggles in the 21st century.
Allahyari is currently an artist in residence at Eyebeam’s one-year Research Residency (2016–2017) in NYC where she is developing a new body of work on Digital Colonialism and ‘re-Figuring’ as a Feminism and de-colonialism practice, using 3D scanners and 3D printers as her tools of investigation. Researching dark goddesses, monstrous, and djinn female figures of Middle-Eastern origin, Allahyari devises a narrative through practices of magic and poetic-speculative storytelling, re-appropriation of traditional mythologies, collaging, meshing, scanning, and archiving.
Allahyari has been part of numerous exhibitions, festivals, and workshops around the world including Venice Biennale di Archittectura, Museum of Contemporary Art in Montreal, Tate Modern, Queens Museum, Pori Museum, Powerhouse Museum, Dallas Museum of Art, Jeu de Paume, Contemporary Arts Museum of Houston, Museum für Angewandte Kunst. She has been an artist in residence at BANFF Centre (2013), Carnegie Mellon University’s STUDIO for Creative Inquiry (2015), Autodesk Pier9 Workshop in San Francisco (2015), and the Vilém Flusser Residency Program for Artistic Research in association with Transmediale, Berlin (2016). Her work has been featured in the New York Times, Huffington Post, Wired, National Public Radio, Parkett Art Magazine, Frieze, Rhizome, Hyperallergic, and Al Jazeera, among others.
“Machine for Living”
May 24, 2018
“The lecture will focus on my most recent video work contextualized within the evolution of my process over the years. I will present an overview of different inspirations, discuss my approach with analog and digital video, reflect on the potential extension of video in the context of presentation, and I will talk about the different themes contained into my work such as architecture, utopia and dystopia, the real and the virtual.” - Sabrina
Sabrina Ratté is a video artist based in between Montreal and Paris. Her practice investigates virtual environments generated by analog technologies. Electricity, as raw material, is sculpted, transformed and altered digitally to be reborn as luminous and vibrating architectures. Her videos exist between abstraction and figuration, utopia and dystopia, architecture and landscape.
Her works include installations, prints, sculptures and live performances. Previous exhibitions: Dolby Gallery (San Francisco), Young Project Gallery (Los Angeles), Whitney Museum of Art (NYC), Paddles On! 1st Digital Art Auction at Phillips (New York), HEK (Basel), EMPAC (Troy), Museum of the Moving Image (New York), International Digital Arts Biennal - Bian (Montreal), PHI Center (Montreal), Arsenal (Mtl), the Lampo series (Chicago), Atonal Festival (Berlin), Elektra, MUTEK (Mtl, Mexico, Barcelona). She is represented by the Laffy Maffei Gallery in Paris.
Special thanks to the Department of Cinema Studies for their support.
Thursday, October 6, 2016
In her sculptural practice, Ruby Neri embraces a broad spectrum of figuration, drawing upon idiosyncratic 20th century West Coast traditions as well as a global catalogue of art historical and anthropological modes. Over the course of the last two decades she has moved fluidly from one material to another, including plaster, metal, and paint, to generate highly personal works of emotional immediacy often focused on the representations of the female form. Highlighting the tactility of clay, she builds each sculpture's curvaceous silhouette by hand, forming irregular walls and organic extensions. Her figurative airbrushed glazing, introduces lightness and improvisation to forms that otherwise display physical density and permanence, as well as recalls the street art she produced as a leading member of the San Francisco-based Mission School in the early 2000s and connects a 21st century urban art form to the archaic power of pre-historical wall-painting and object-making.
Ruby Neri (b. 1970, San Francisco) has participated in numerous exhibitions, including most recently Villa of Mysteries, Los Angeles Museum of Art (2016); Napa Valley Collects, Napa Valley Museum, Yountville, California (2016); NO MAN'S LAND: Women Artists from the Rubell Family Collection, Rubell Family Collection, Miami (2015); Fertile Ground: Art and Community in California, Oakland Museum of California in collaboration with the San Francisco Museum of Modern Art (2014); The Oracle, The Underground Museum, Los Angeles (2014); Energy That is All Around: Mission School, Grey Art Gallery, New York University, and San Francisco Art Institute (2013-14); The Possible, Berkeley Art Museum and Pacific Film Archive, University of California (2014); Busted, High Line Art, New York (2013); and Made in L.A. 2012, Hammer Museum, Los Angeles (2012). Neri lives and works in Los Angeles.
"Practicing in Public: Artistic Agency within Global Collaborative Contexts"
Thursday, October 13, 2016
Stephanie Syjuco creates large-scale spectacles of collected cultural objects, cumulative archives, and temporary vending installations, often with an active public component that invites viewers to directly participate as producers or distributors. Using critical wit and collaborative co-creation, her projects leverage open-source systems, shareware logic, and flows of capital, in order to investigate issues of economies and empire. This has included starting a global collaborative project with crochet crafters to counterfeit high-end consumer goods, presenting parasitic art counterfeiting events, and developing alternative vending economies. She will present several key projects that activate both global and national contexts, and touch on social practice as a means to promote public knowledge sharing in an era of increased privatization.
Born in the Philippines, Syjuco received her MFA from Stanford University and BFA from the San Francisco Art Institute. She is the recipient of a 2014 Guggenheim Fellowship Award and a 2009 Joan Mitchell Painters and Sculptors Award. Her work has been shown nationally and internationally, and included in exhibitions at MoMA/P.S.1, the Whitney Museum of American Art, The San Francisco Museum of Modern Art, ZKM Center for Art and Technology, the California Biennial at the Orange County Museum of Art, The 12th Havana Bienal, The 2015 Asian Art Biennial (Taiwan), among others. A long-time educator, she has taught at Stanford University, The California College of the Arts, The San Francisco Art Institute, Carnegie Mellon University, and most recently joined the faculty at the University of California at Berkeley in January 2014 as an Assistant Professor in Sculpture. She lives and works in Oakland, California.
"Technically Conceptual / Conceptually Technical: Stanley William Hayter and the Atelier 17"
Thursday, October 20, 2016
Calder, Miró, Kandinsky, Masson, Picasso, Nevelson, Bourgeois, Pollock. These are just a few of the names of the myriad artists associated with the Atelier 17, the collaborative print workshop founded by Stanley William Hayter in 1927 in Paris. Hayter would come to have an enormous effect on modern printmaking through not only his own work, but also through the workshop. The story of the Atelier 17 bridges the gap between pre- and post-WWII art, encompassing Surrealism and Modernism through Abstract Expressionism and beyond. The Atelier moved with the art world to New York from Paris, bringing with it an international and intergenerational group of artists. This melting pot of creative minds innovated and experimented both conceptually and technically with a profound emphasis on collaboration. Hayter was the nucleus around which artists investigated ideas, pedagogy, and technical innovations, and whose legacy paved the way for the post-war print boom.
Benjamin Levy is a curator, print scholar, and printmaker. He is currently the Assistant Curator of Collections and Academic Programs at the Henry Art Gallery at the University of Washington. Previously he was in the Prints, Drawings & Photographs Department at the Baltimore Museum of Art. While in Baltimore he co-directed the Baltimore Fair for Contemporary Prints and was a contributor to BmoreArt Magazine. A graduate of the Maryland Institute College of Art in Printmaking and Book Arts, he trained as a collaborative master printer. He is a contributor for Art in Print, sits on the board of the Tamarind Institute of Lithography, and is currently involved with a catalog and traveling exhibition of the work of Stanley William Hayter and his workshop, the Atelier 17.
"The Landscape and Things in the Way"
Thursday, October 27, 2016
John Divola is a contemporary visual artist who works in photography, describing himself as exploring the landscape by looking for the edge between the abstract and the specific. Although the physical subjects that Divola photographs range from buildings to landscapes to objects in the studio, his concerns are conceptual: they challenge the boundaries between fiction and reality, as well as the limitations of art to describe life. Divola is from Southern California, and his imagery often reflects that locale by including urban Los Angeles or the nearby ocean, mountains, and desert. He currently lives and works in Riverside, CA. Divola has taught photography and art at numerous institutions including California Institute of the Arts (1978-1988), and since 1988 he has been a Professor of Art at the University of California, Riverside.
Thursday, November 3, 2016
Sam Moyer’s sculptural objects, paintings, and structures draw from an impulse to release the pathos within utilitarian material. Through counterposing objects such as broken marble slabs, bronze, and muted fabrics, Moyer’s works undulate in both their sense of materiality and history. In contextualizing the materials into the language of painting, Moyer not only fuses painting and sculpture, but in doing so, allows for the raw materials to resonate as minimalist forms. Once components of functioning structures, these compressions become formal works: emphasizing their form and color, layered metaphors of an architectural space.
"Moyer manages to fold the space of painting and sculpture together to form a single object that embodies the literal qualities of material form and the optical sensuality of surface. No longer separated into sculptural or pictorial zones, the ground and floor plane all become viable spaces for her sculpture-painting objects. The effect for the viewer is a hybrid phenomenal experience produced by an intimate material object, akin to some kind of Minimalist alchemy." - Howie Chen, "Stone Mirrors" 2016
Sam Moyer has exhibited her work at The Drawing Center (New York, NY), The Bass Museum (Miami, FL), University of Albany Art Museum (Albany, NY), The Public Art Fund (New York, NY), White Flag Projects and The Contemporary Art Museum St. Louis (St. Louis, MO), LAND (Los Angeles, CA), Tensta konsthall (Stockholm, SW), Cleopatra’s Greenpoint (Brooklyn, NY), and Société (Berlin, DE). She has also participated in "Greater New York" and “Between Spaces” at PS1 Contemporary Art Center, Queens. Exhibitions of her work have also been shown at Rachel Uffner Gallery, Galerie Rodolphe Janssen (Brussels, BE), Venus over Manhattan (New York, NY), Autocenter (Berlin, GE), and Artists Space (New York, NY) among other venues. She received her BFA from the Corcoran College of Art and Design and her MFA from Yale. She lives and works in Brooklyn.
"Sculpture as Substance"
Thursday, November 10, 2016
Following artists who explore the malleability of materials and their implications—from the scientific to the social and political—this talk responds to the emergence of new material concerns in current art, grounding the discussion in the works of a key group of historical and new artists who use active substances in their works. The inclusion of living materials and sensory elements in contemporary artworks reflects a blurring of boundaries within the field of sculpture that challenges its definition in terms of site and scale, and focuses less on the subject depicted or content engaged, and more on the potential of its material makeup.
Ruba Katrib is curator at Sculpture Center in Long Island City, New York, where she has produced the group shows The Eccentrics (2015), Puddle, Pothole, Portal (2014) (co-curated with artist Camille Henrot), Better Homes (2013) and A Disagreeable Object (2012). Recent solo shows include exhibitions with Rochelle Goldberg (2016), Anthea Hamilton, Gabriel Sierra, Magali Reus, Michael E. Smith and Erika Verzutti (all 2015). Katrib’s previous post was as associate curator at the Museum of Contemporary Art (MOCA), North Miami, she organized several acclaimed solo and group exhibitions.
This lecture is made possible by the a partnership with the University of Oregon School of Architecture and Allied Arts and The Ford Family Foundation’s Visual Arts Program Curators and Critics Tours and Lectures program Connective Conversations: Inside Oregon Art 2016-17 Season.
"Site as Archive"
Thursday, Novmeber 17, 2016
William Wylie’s photographs and videos have been shown both nationally and internationally. His work can be found in the permanent collections of the Metropolitan Museum of Art, National Gallery of Art, Smithsonian American Art Museum, The Philadelphia Museum of Art, Virginia Museum of Fine Art, and Yale University Art Museum, among others. He has published four books of his work: Riverwalk (University Press of Colorado, 2000), Stillwater (Nazraeli Press, 2002), Carrara (Center for American Places, 2009), and Route 36 (Flood Editions, 2010) and has his fifth title, Prairie, scheduled for publication Fall 2017. His awards include a Guggenheim Fellowship in 2005, a VMFA Professional Fellowship in 2011 and the Yale Museum’s Doran / LeWitt Fellowship in 2012 and 2014. He lives in Charlottesville where he teaches photography at the University of Virginia.
This lecture is sponsored by the Jordan Schnitzer Museum of Art in conjunction with the exhibition “Scrimmage: Football in American Art from the Civil War to the Present" on view through December 31, 2016 in the Barker Gallery.
"George and Matilda Fowler Lecture"
Tuesday, January 17, 2017
Benjamin H. Bratton's work spans Philosophy, Art, Design and Computer Science. He is Professor of Visual Arts and Director of the Center for Design and Geopolitics at the University of California, San Diego. He recently founded the school's new Speculative Design undergraduate major. He is also a Professor of Digital Design at The European Graduate School and Visiting Faculty at SCI_Arc (The Southern California Institute of Architecture)
In The Stack: On Software and Sovereignty (MIT Press, 2016. 503 pages) Bratton outlines a new theory for the age of global computation and algorithmic governance. He proposes that different genres of planetary scale computation -smart grids, cloud platforms, mobile apps, smart cities, the Internet of Things, automation- can be seen not as so many species evolving on their own, but as forming a coherent whole: an accidental megastructure that is both a computational infrastructure and a new governing architecture. The book plots an expansive interdisciplinary design brief for The Stack-to-Come.
Dispute Plan to Prevent Future Luxury Constitution (e-flux/ Sternberg Press, 2015. 196 pages) is a collection of short fictions on architecture and political violence. The book weaves fact and fiction to dramatize the symmetries and complicities between designed violence and the violence of design: their plots, schemes, utopias and dystopias.
His current research project, Theory and Design in the Age of Machine Intelligence, is on the unexpected and uncomfortable design challenges posed by A.I in various guises: from machine vision to synthetic cognition and sensation, and the macroeconomics of robotics to everyday geoengineering.
This lecture is made possible by the George and Matilda Fowler Endowment Fund.
"Impractical Weaving Suggestions"
Thursday, January 26, 2017
Fairbanks’s work explores structures and effects embedded in the intersections of cloth that, because of their small scale, often go unseen and unconsidered. By inflating the scale, embedded layers of labor and sophisticated math-based systems are exposed. Wall weaving installations made out of fluorescent flagging tape display the magnified structures in a radical palette of neon plastic material that feels electric and loud. Through drawings and jacquard weavings, Fairbanks poses questions around value, labor, and time more quietly. Fairbanks’s approach to color, process, and material offers a fresh and witty point of entry into the dialogue and tension that persists between high vs low, and industrial vs handmade.
Marianne Fairbanks is a visual artist, designer, curator and Assistant Professor of Design Studies at the University of Wisconsin-Madison. She received her MFA from the School of the Art Institute of Chicago in Fibers and Material Studies and her BFA from the University of Michigan in Fibers. Her work has been shown nationally and internationally in venues including The Museum of Art and Design, NY, The Museum of Contemporary Art in Chicago, The Smart Museum of Art, Chicago, and Museum London, Ontario. Fairbanks is a founding member of Mess Hall, an experimental cultural space in Chicago, and co-founder of Noon Solar, a small business that made wearable solar technology to charge personal electronics. For 10 years she was part of the collaborative art group, JAM. Additionally, she is conducting collaborative research with a chemist to create a solar textile.
"Photographic Projects: Context"
Thursday, February 2, 2017
Julia Bradshaw’s current creative research projects center on the material and production properties of photography and also flatness and abstraction in contemporary photography. Her talk will focus on her most recent work; which centers on using photographs as malleable material and an interest in making work concerned with the technical properties of photography. Unable to separate the theoretical and the creative in her art practice, Bradshaw will describe her projects in context of the work of other photographers and theorists engaged with similar concerns.
Julia Bradshaw is Assistant Professor of Photography and New Media Communications at Oregon State University. British-born she spent nine years living and working in Munich, Germany prior to moving to the United States. These international moves, second-language and cultural experiences are often the fodder for her artworks. Her creative projects make use of photography and video to problem-solve and comment on issues of the everyday; such as language, social-issues, or being an artist.
As a writer, Julia Bradshaw published several reviews in Afterimage: The Journal of Media Arts and Criticism and wrote over twenty articles for online arts blogs. Her research essay on the photography in the Fresno Feminist Art Program was published in Exposure, the journal of the Society for Photographic Education. And as a curator, she has assembled exhibitions at venues in California and Oregon.
"Davis Family Lecture"
Thursday, February 9, 2017
Artist/curator Michelle Grabner will discuss her own work, the 2014 Whitney Biennial, and the 2016 Portland Biennial.
Michelle Grabner is an artist and writer. She is the Crown Family Professor of Painting and Drawing at the School of the Art Institute of Chicago. She has also taught at The University of Wisconsin-Madison, Cranbrook Academy of Art; Yale Norfolk; Milton Avery Graduate School of Arts - Bard College; Yale University School of Art; the University of Pennsylvania; and Skowhegan School of Painting and Sculpture, Maine. Her work is represented in New York City by James Cohan Gallery. In the Midwest she is represented by the Green gallery, Milwaukee. She co-curated the 2014 Whitney Biennial and the 2016 Portland Biennial.
This lecture is made possible by the generosity of Mr. and Mrs. Gay and Judi Davis and the Davis Family Endowed Fund in Art.
Nora Naranjo Morse
Thursday, February 16, 2017
"Always Becoming" is a living art piece made of organic material. The five sculptures of AB are ephemeral and were installed outside of the National Museum of the American Indian on the Smithsonian Mall in Washington D.C. The sculptures are inspired by indigenous architecture. The sculptures reflect culture, environment and community. These living art pieces created community among people who helped build the sculptures. The original crew consisted of nine people–a 75 year old indigenous man from Mexico, his family and several members of my own family who work in adobe construction. The process of creating indigenous inspired sculptures against the backdrop of Washington D.C. is layered with symbolism explored in both documentaries–but even more so in the AB longer film version.
Stewardship of the pieces have become even more important now that the environment has begun playing a crucial role in these organic forms. The idea of stewardship is now a central theme in "Always Becoming." Questions concerning stewardship of culture and environment play an important role in the "Becoming" of this art piece. In addition, animal life has increased on these two "Always Becoming" plots of earth that sit by one of the busiest streets in Washington D.C. Birds nest in the crevasses of the sculptures and Mason bees have burrowed homes in the mud surfaces of the sculptures. This piece has become a refuge for many small animals. Finally, "Always Becoming" at its core is about cultural knowledge playing a role for indigenous people even today. The ideas and issues of stewardship for land and culture and, the role humans play in creating a sustainable life that is always becoming.
The shorter documentary focuses on the original "Always Becoming" piece on the Smithsonian Mall–materials, construction, crew and dedication of the "Always Becoming" sculptures.
Nora Naranjo Morse is a sculptor, writer, and producer of video films that look at the continuing social changes within Pueblo Indian culture. An artist best known for her work with clay and organic materials, she has been trained in the Pueblo clay work tradition of the Southwest. Her installation exhibits and large-scale public art speak to environmental, cultural, and social practice issues. Beyond New Mexico, her work can be seen at the Heard Museum in Phoenix, the Minneapolis Institute of Art, and the Smithsonian's National Museum of the American Indian, Washington, D.C. She studied at the College of Santa Fe, where she received her B.A. degree in 1980, and is the recipient of an honorary degree from Skidmore College. In 2014 Naranjo Morse was awarded a Native Arts and Cultures Foundation Artist fellowship. She is the author of two books: a poetry collection, Mud Woman: Poems from the Clay, and a children's book, Kaa Povi.
There will be a 28-minute documentary film screening followed by a lecture and discussion. This event was made possible by the following co-sponsors:
- Alpha of Oregon Chapter of Phi Beta Kappa
- University Housing
- Division of Undergraduate Studies
- Native Studies
- Architecture and Allied Arts
- Ethnic Studies
"Pinch to Zoom"
Thursday, February 23, 2017
Hello, I’m famous new media artist Jeremy Bailey. What makes me famous? One: everyone is famous on the internet, and two: I’ve solved some of the world’s biggest problems using technology and creativity. In many ways I'm more like inventor or entrepreneur than an artist, I bring radical new ideas to life that change the world. Please join me for an intimate and inspiring conversation about my life and practice.
Jeremy Bailey is a Toronto-based self-proclaimed Famous New Media Artist. "Since the early noughties Bailey has ploughed a compelling, and often hilarious, road through the various developments of digital communications technologies."(Morgan Quaintance, Rhizome) Bailey has performed and exhibited all over the world, from bathrooms in Buffalo to museums in Moscow.
"Screenology, or Media Archaeology of the Screen"
Monday, February 27, 2017
Media screens are both present and absent, both well known and unknown. Pervasive use makes them ‘vanish.’ We look through them, not at them. Even cracked smartphone screens do not attract attention to their wounded surfaces. The users read messages and “realities” through the cracks which they barely notice. Screens not only disguise themselves; they hide the history of their own becoming. The media archaeologist’s task is to make the screens visible again and to excavate the cultural contexts where they have been used and given meanings - even hundreds of years ago. This lecture is based on the author’s forthcoming book Screenology, or Media Archaeology of the Screen. It demonstrates one possible way of researching screens, suggesting a new approach for media studies.
Erkki Huhtamo is known as a founding figure of media archaeology. He has published extensively on media culture and media arts, lectured worldwide, given stage performances, curated exhibitions, and directed TV programs. He is a professor at the University of California Los Angeles (UCLA), Departments of Design Media Arts, and Film, Television, and Digital Media. His most recent book is Illusions in Motion. Media Archaeology of the Moving Panorama and Related Spectacles (The MIT Press, 2013).
This 2nd annual A&AA Interdisciplinary Lecture is sponsored by the School of Architecture & Allied Arts with special thanks to History of Art and Architecture Department, Product Design Department, Art and Administration Program, and Art and Technology Program for their support.
Thursday, March 9, 2017
Sandow Birk will discuss his general art practice and specifically his project American Qur’an. Throughout his career, Birk’s work has dealt with contemporary American life and social issues, from surfing and skateboarding, to graffiti, urban violence, prisons, war, and religions. Sparked by extensive travel and world events, he spent nine years creating an illuminated manuscript of the Holy Koran, transcribing the entire English language text in a font inspired by graffiti and illustrating every page with metaphorical scenes of life in the United States.
Sandow Birk is a graduate of the Otis College of Art and Design. His work largely concerns itself with issues pertinent to the politics of contemporary life and he borrows liberally from art history for his work’s compositional and conceptual framework. Birk works across media, and his projects are often expansive in scope, taking on great works of literature, religion, and law. His quest is for subjects that are challenging and germane to cogent political topics and have included urban violence, graffiti, the war in Iraq, prison growth, water rights in California, manifest destiny, morbid disease in America, surfing, and skateboarding. Single-handedly creating a hand-transcribed and illuminated manuscript of the Holy Qur’an since 2001, Birk’s American Qur’an is a consideration of the holy text against the backdrop of scenes from contemporary American life.
This lecture is sponsored by the Jordan Schnitzer Museum of Art in conjunction with the exhibition Sandow Birk: American Qur’an on view January 21, 2017 to March 19, 2017.
Julie York, Tim Berg, and Rebekah Myers
Julie York: “Under the Influence”
Tim Berg & Rebekah Myers: “Glimpses”
Friday, March 17, 2017
These lectures are made possible in part by the Robert C. James Endowed Fund in Ceramics.
The work that I produce is driven from a philosophy that is rooted in an active studio practice that grows out of inquiry and investigation. I am a maker who is interested in creating work that is both visual and contemplative.
The research in my work encompasses an inquiry into materials, alchemy, skill, labor, tools, and physical ways of seeing. I am intrigued by the connections between objects and their images (both physical and mental) and the ways in which we perceive and understand them. The work presents itself in a way that intends to challenge the understanding of how and what one sees. The lecture, “Under the Influence”, will focus on my artistic practice in relation to what informs and guides the work. This artist talk will provide examples of the creative research that has driven various bodies of work created over the past decade. It also will address ideas told from the perspective of a maker within the discipline of ceramics in the 21st century.
Julie York is an artist who works in traditional craft materials using non-traditional approaches. She is one of many recognized makers currently redefining the use of ceramics. York received the Pew Fellowship in the Arts, the Independence Foundation Fellowship and many Creative Production Grants from the Canada Council for the Arts. Her work has been included in numerous shows nationally and internationally including shows in New York, Chicago, Philadelphia, Miami, and Vancouver. Her work has been included in many permanent and private collections including The Museum of Fine Arts, Boston and The Racine Art Museum, Wisconsin. York is an Associate Professor of Audain School of Visual Arts at Emily Carr University of Art and Design in Vancouver Canada. She received her BFA from Emily Carr Institute of Art and Design and her MFA from New York State College of Ceramics at Alfred University. Subsequently, she has held fellowships and residencies at Shigaraki, Japan, Maryland Institute College of Art, Baltimore, The Clay Studio, Philadelphia, and International Ceramic Research Centre, Denmark.
Tim Berg & Rebekah Myers
In this lecture we will discuss the core themes and questions that run through our work, giving the audience glimpses into into our methodology, conceptual concerns and material explorations. In particular we will address notions of fortune, overabundance, authenticity, disappearance, value and the anthropocene.
Tim Berg and Rebekah Myers are a studio art collaborative based in Claremont, California. Berg and Myers have participated in multiple solo exhibitions including On the Bright Side... at Faulconer Gallery at Grinnell College in Grinnell, IA (2016), Site Unseen at the American Museum of Ceramic Art in Pomona, CA (2014); Honest to Goodness at Santa Barbara City College (2014); An embarrassment of riches at Dean Project Gallery in New York, NY (2013); and As Luck Would Have It at Nääs Konsthantverk Galleri in Göteborg, Sweden (2009). Over the years Berg and Myers have also participated in numerous group exhibitions in the US, Mexico, South Korea, Qatar and Kuwait. Their work is included in many private and public collections including The Betty Woodman Collection at the University of Colorado and the Biedermann Museum in Germany. Berg additionally works as an Associate Professor of Art at Pitzer College in Claremont, California.
"Interaction and the Social Landscape"
Thursday, April 13, 2017
Positioned around the rituals and sites of social interaction, my work calls special attention to the overlooked narratives in our everyday experiences. How we orient ourselves in the larger social and spatial landscape, marks a continuation of this theme in my practice. Visitors are prompted to question where exactly the artwork exists, whether it is in the object, the performance, or somewhere more liminal in the context of the gallery space, which functions simultaneously as the site of presentation, performance, dining hall, or even a tavern.
An alumna of the New York University graduate school of fine arts, MK Guth has exhibited her work internationally at numerous museums, galleries and festivals including, The Whitney Museum of American Art, The Yerba Buena Center for the Arts, The Melbourne International Arts Festival, Nottdance Festival, England, The Contemporary Art Center, Cincinnati, Boise Art Museum, Gallery-Pfeister, Gudhjem Denmark, Franklin Parrasch Gallery NYC, Cristin Tierney, NYC, Elizabeth Leach Gallery, PDX, Swiss Institute, NYC, White Columns, NYC, The Frye Art Museum, and The Henry Art Gallery at the University of Washington. Guth is a founding member of the RED SHOE DELIVERY SERVICE, a collaborative performance project with artists Molly Dilworth and Cris Moss. She is the recipient of several awards including, the Betty Bowen Special Recognition Award, administered by The Seattle Art Museum, and a Ford Family Foundation Fellowship.
2015–16 Visiting Artists
"It’s All In My Head"
Thursday, October 8, 2015
Scott Reeder’s paintings, sculptures and videos are studies in contradiction- abstract and representative, ambitious and restrained, ironic and sincere. His “pasta paintings” with their loopy variant marks, reference Abstract Expressionism, but are made with the elaborate alphabet of noodle types, and his text paintings, pairs of four-letter words like “Post Cats,” and “Dark Math,” channel Ed Ruscha via a lo-fi punk aesthetic. His list paintings, such as “Alternate Titles For Recent Exhibitions I’ve Seen,” are comical blends of topical mundanity and absurdist existentialism.
Scott Reeder is a painter, filmmaker and professor of painting and drawing at the School of the Art Institute of Chicago. He currently lives and works in Detroit, Michigan. Reeder was the subject of a solo exhibition at the Museum of Contemporary Art, Chicago in 2011 and has been included in group exhibitions at the Tate Modern, London; the Museum of Contemporary Art, San Diego; and the Portland Institute of Contemporary Art. Reeder’s work is included in the collections of the Museum of Contemporary Art, Chicago; The Hirshhorn Museum and Sculpture Garden, Washington D.C.; The Atlanta Contemporary Art Center, Atlanta; and the Kadist Foundation, Paris.
In 2014, Reeder debuted his first feature-length film project, Moon Dust at Anthology Film Archive in New York. Reeder has also curated several exhibitions, including Dark Fair at the Swiss Institute NY, The Early Show at White Columns, NY and Drunk vs. Stoned (parts 1 & 2) at Gavin Brown's enterprise NY. Reeder is represented by Lisa Cooley in New York, NY, Kavi Gupta Gallery in Chicago, IL, and Luce Gallery in Turin, Italy.
Thursday, October 15, 2015
Enrique Chagoya is a painter, printmaker, and art practice professor at Stanford's Department of Art and Art History. Enrique Chagoya uses art to turn assumptions, both artistic and political, on their heads. Drawing from his experiences living on both sides of the U.S.-Mexico border in the late 70’s, and also in Europe in the late 90’s, Enrique Chagoya juxtaposes secular, popular, and religious symbols in order to address the ongoing cultural clash between the United States, Latin America and the world as well. He uses familiar pop icons to create deceptively friendly points of entry for the discussion of complex issues. Through these seemingly harmless characters Chagoya examines the recurring subject of colonialism and oppression that continues to riddle contemporary American foreign policy.
Chagoya was born and raised in Mexico City. He earned a BFA in printmaking at the San Francisco Art Institute and a MA and a MFA at the University of California, Berkeley. Chagoya has exhibited his work nationally and internationally for over two decades with a major retrospective organized by the Des Moines Art Center in Iowa in 2007 that traveled to UC Berkeley Art Museum and to the Palms Spring Art Museum in 2008. In 2013, a major survey of his work opened in Centro Museum ARTIUM in Vitoria-Gasteiz, Spain that travelled to the Centro Atlantico de Arte Moderno in the Canary Islands in 2015. In 2014, he opened a print retrospective at the Elaine L. Jacob Gallery at Wayne State University in Detroit and in 2015, a print survey opened at the Instituto de Artes Graficas de Oaxaca in Oaxaca City, Mexico.
His work is in many public collections including the Museum of Modern Art, the Metropolitan Museum, and the Whitney Museum of American Art in New York, the San Francisco Museum of Modern Art and the Fine Arts Museums of San Francisco among others. He has been recipient of numerous awards including two NEA artists’ fellowships, the National Academy of Arts and Letters in New York, residencies at Giverny and Cite Internationale des Arts in France, and a Tiffany fellowship. He is represented by Gallery Paule Anglim in San Francisco, George Adams Gallery in New York, and Lisa Sette Gallery in Scottsdale, Arizona. His prints are published by in California by Electric Works in San Francisco, Magnolia Editions in Oakland, and Trillium press in Brisbaine, Made in California in Oakland, and Smith Andersen Editions in Palo Alto, and also in ULAE in Bay Shore, New York; Shark’s Ink in Lyons, Colorado; and Segura Publishing in Pueblo, Arizona.
This lecture and the exhibition Enrique Chagoya: Adventures of Modernist Cannibals—on view through December 06, 2015 in the Harold and Arlene Schnitzer Gallery at the Jordan Schnitzer Museum of Art—are made possible with generous support from Jordan D. Schnitzer and his Family Foundation.
Thursday, October 22, 2015
Paula Wilson’s work blends multimedia and multi-cultural references in creating extravagant paintings, prints, videos, and sculptures that are simultaneously realistic and unworldly. The dense layering of color, image, pattern, and material in her pieces act as a visual metaphor for the complex stratum of histories and cultures that inform the work. With a style characterized by narrative, bold color, and silhouette, the work often depicts interactions between female figures and lush, highly detailed scenes of nature. Interweaving corporeal forms and patterns of bright color with literal and figurative reference to stain-glass windows and fabrics, Wilson’s work uses decorative motifs to great effect exploring both the nature of femininity as construct and the visual markers of identity.
Paula Wilson received a MFA from Columbia University in 2005 and has since been featured in group and solo exhibitions in the United States and Europe, including the Studio Museum in Harlem, Sikkema Jenkins & Co., Bellwether Gallery, Fred Snitzer Gallery, The Fabric Workshop and Museum, Center for Contemporary Art Santa Fe, Johan Berggren Gallery in Sweden, and Zacheta National Gallery of Art, Warsaw. Wilson is a recipient of numerous grants and awards including a Joan Mitchell Artist Grant, Art Production Fund’s P3Studio Artist-in-Residency at the Cosmopolitan in Las Vegas, and the Bob and Happy Doran Fellowship at Yale University. She lives and works in Carrizozo, New Mexico.
Thursday, October 29, 2015
“I believe in using art to create disruptions from daily life. Sometimes these disruptions are subtle, and sometimes enveloping. My art is always looking outward, unearthing the problematic and seeking possible pathways for positive forward movement. The question becomes how do I apply my digital media creation, creative coding, mechanical engineering, and sculptural skills towards answering challenges we face? How do the outcomes interrogate big picture perspectives and offer ways forward that are on some level practical? These are the challenges of the Critical Arts Engineer. The Critical Arts Engineer must have a deep understanding of many technological tools and methods of making, combined with a very critical look at what those tools offer, how they shape what is produced, and how they convey particular concepts; the concepts themselves being critical looks at our world in structural, political, and systemic terms.” – Chris Coleman
Chris Coleman was born in West Virginia, and he received an MFA from SUNY Buffalo, New York. His work includes sculptures, videos, creative coding and interactive installations. Coleman has had his work in exhibitions and festivals in more than 20 countries including Brazil, Argentina, Singapore, Finland, the U.A.E., Italy, Germany, France, China, the UK, Latvia, and across North America. His open source software project developed with Ali Momeni, called Maxuino, has been downloaded more than 50,000 times by users in over 120 countries and is used globally in physical computing classrooms. He currently resides in Denver, Colorado and is an Associate Professor and the Director of Emergent Digital Practices at the University of Denver.
Thursday, November 12, 2015
In her paintings on hand-woven textile, Bittman exploits the limitations of the basic floor loom. By designing and executing weave drafts that consist of simple sets of numerically based instructions, she generates woven cloth whereby the architecture of the weave interlacements and the graphics of the cloth are one in the same. Once stretched over traditional painting stretcher bars, the textile patterns, which often become distorted by the act of stretching, direct and dictate the painted surface. These moves are both intuitive and logical. In several works, the weave graphics are replicated precisely in paint, negating the materiality of the textile in favor of the pictorial aspects of the cloth. In other instances, selectively painted areas merge with their underlying textile support, further flattening the picture plane and perceptually disorienting the viewer.
Samantha Bittman lives and works in Chicago, Illinois. She received a BFA from the Rhode Island School of Design in 2004 and an MFA from the School of the Art Institute of Chicago in 2010 and also attended the Skowhegan School of Painting and Sculpture in 2011. Recent solo exhibitions include Razzle Dazzle at Andrew Rafacz Gallery, Chicago, IL; Number Cruncher at Longhouse Projects, New York, NY; and Soft Counting, at Greenpoint Terminal, Brooklyn, NY. Bittman has been included in recent group exhibitions at Morgan Lehman Gallery, New York, NY; David Castillo Gallery, Miami, FL; Guerrero Gallery, San Francisco, CA; and Paris London Hong Kong, Chicago, IL. She is currently on faculty at the Rhode Island School of Design.
This lecture is sponsored by the UO Department of Art, Mrs. Carol Reinhold and Mr. B. Terry Reinhold, and the Reinhold Foundation.
"Based on a True Story: Misbehaving Memory"
Connective Conversations | Inside Oregon Art 2015-2016
Wednesday, November 18, 2015
Steven Matijcio is the curator of the Contemporary Arts Center in Cincinnati, Ohio. Prior to this position he served as Curator of Contemporary Art at the Southeastern Center for Contemporary Art in Winston-Salem, North Carolina. Matijcio received a MA from the Center for Curatorial Studies at Bard College, New York and a HBA from the University of Toronto. He has held positions in a number of important galleries and museums including the Plug In Institute of Contemporary Art, the Power Plant Contemporary Art Gallery, the Art Gallery of Ontario, and the National Gallery of Canada
Matijcio was honored in 2010 with a prestigious Emily Hall Tremaine Exhibition Award for his project paperless. In the summer of 2011 he was chosen from an international pool of candidates to participate in curatorial residencies in Gwangju, South Korea as part of the Gwangju Design Biennale and Berlin, Germany as part of the Haus der Kulturen der Welt’s SYNAPSE project exploring the relationship between art & science. In the fall of 2012 he curated the 4th edition of the Narracje Festival in Gdansk, Poland, which involved a citywide program of installations, interventions and video projections upon historic buildings. Matijcio’s 2013 essay “Nothing to See Here: The Denial of Vision in Media Art” was accepted into the RENEW: Media Art Histories Conference in Riga, Latvia.
Matijcio has also lectured on theory and criticism at the University of Manitoba, written for numerous catalogs and journals including the Guide to the 27th Sao Paulo Bienal, and was commissioned in 2003 by the Robert Mapplethorpe Foundation to curate one of their first online exhibitions. He has recently sat on juries for the Tremaine Foundation, School of the Art Institute of Chicago and the McKnight Fellowships in Minneapolis.
This lecture is made possible by the a partnership with the UO School of Architecture and Allied Arts, and the Form Family Foundation's Visual Arts Program Curators and Critics Tours and Lectures–Connective Conversations: Inside Oregon Art.
"Thinking Through Spaces: Objects and Site"
Thursday, November 19, 2015
Anders Ruhwald is one of the foremost ceramic artists working in the world today. Noted for large-scale installations that explore ceramic as both idea and material, he brushes aside the distinction between 'art' and 'craft', emphasizing instead the disruptive and transformative capacity of objects in space. As the Director of New York's Museum of Arts and Design Glenn Adamson has stated: “For all their compressed particularity, [his] sculptures are also enlivened by inexhaustible nuance. Ruhwald takes seriously the idea that surface is where form interfaces with spatial context, so his surfaces have an intensity in all registers.”
Anders Ruhwald is Artist-in-Residence and Head of Department at Cranbrook Academy of Art in Bloomfield Hills, Michigan. He graduated from the Royal College of Art in London in 2005. Solo exhibitions include “The Anatomy of a Home” at The Saarinen House in Michigan, “You in Between” at Middlesbrough Institute of Modern Art in the United Kingdom, and more than 25 gallery and museum solo shows in New York, London, Paris, Hong Kong, San Francisco, Chicago, Stockholm, Copenhagen and Brussels as well as more than 100 group-exhibitions around the world. His work is represented in over 20 public collections internationally including The Victoria and Albert Museum, United Kingdom, Musée des Arts décoratifs, France; The Denver Art Museum, The Detroit Institute of Art, The Philadelphia Museum of Art, Icheon World Ceramic Center, Republic of South Korea; The British Crafts Council and The National Museum, Sweden. In 2011, he was awarded the Gold Prize at the Icheon International Ceramics Biennale in South Korea, in 2010 he received a Danish Art Foundation three-year work-stipend, and in 2007 he received the Sotheby’s Prize, United Kingdom. His work has been reviewed in major publications including the Guardian, Wallpaper, Artforum.com, Sculpture Magazine, and Avenuel. Ruhwald has lectured and taught at universities and colleges around Europe and North America and has held an associate professorship at the School of the Art Institute of Chicago.
Sponsored in part by the Robert James Ceramic Endowment.
"Video is a Container"
Thursday, January 14, 2016
Brian Bress, a Los Angeles-based artist and filmmaker, creates absurd, circularly narrative films driven by the circumstances of a bizarre cast of ridiculously costumed characters, more often than not played by Bress himself. Though they rely predominantly on homemade props and costumes, Bress’s videos are visually innovative and their inherent silliness and rambling pace only serve to intensify the examination of assumptions about the nature of reality. He is also known for his collage-like portraits that feature costumed actors wearing strange masks that obscure their faces. By disguising the identities of the sitters, Bress heightens the level of uncertainty in the work to humorous levels. For his lecture at UO, Brian Bress unpacks 10 years of navigating the agenda of painting through the medium of photography and video.
Brian received a BFA from Rhode Island School of Design and a MFA from University of California, Los Angeles. His collages, photographs, videos and paintings have been exhibited in various group shows and film festivals in Los Angeles, Chicago and New York, including Spike and Mike’s Festival of Animation, Black Maria Film Festival, New York Director’s Club Biennial and The LA Weekly Biennial. Current and upcoming solo exhibitions include a ten-year retrospective at the Utah Museum of Fine Arts, Salt Lake City and the Museum of Contemporary Art Denver in 2016. Bress has recently had solo exhibitions and projects at the Los Angeles County Museum of Art, CA; Museo d’arte contemporanea, Rome, Italy; Santa Barbara Museum of Art, CA; and New Museum, New York, NY. Brian is represented by Cherry and Martin.
George and Matilda Fowler Lecture
"In the Place of the Public: Where Art Resides in Contemporary Society"
Thursday, January 21, 2016
Martha Rosler is an artist, theorist, and educator as well as a leading contemporary critical voice within feminist and art discourses. Rosler’s work encompasses photography, video, installation, photomontage, and performance as well as commentaries on art—especially on documentary photography— and culture. She was born in Brooklyn, New York, USA, where she lives and works.
Rosler’s work has been shown internationally for many years and in 1999-2001 was the subject of a retrospective, “Positions in the Life World,” at five European and two American museums; a more recent survey show was held at the Galleria d’Arte Moderna in Torino. Her collection of over seven thousand books toured internationally as the Martha Rosler Library. Rosler has been the recipient of a number of national and international awards, most recently The New Foundation Seattle’s inaugural lifetime achievement award.
Rosler has also published over fifteen books of her works and essays exploring the role of photography and art, public space, and transportation, as well as public housing and homelessness. Her essays have been collected as Decoys and Disruptions: Selected Writings, 1975-2001. Her most recent book is Culture Class, published in 2013 by e-flux and Sternberg Press (Berlin), which includes an extended essay on the role of artists in processes of gentrification.
Her widely seen video work Semiotics of the Kitchen (1975), reflecting her longstanding interest in the position of the female subject within patriarchy, uses humor in this parody of cooking shows to address the implications of traditional female roles. Other videos cover the geopolitics of food, mass-media imagery and language, war and torture, and domestic life. Her groundbreaking work The Bowery in two inadequate descriptive systems (1974/75), in which photographs of storefronts are paired with metaphors for drunks and drunkenness, questions the social meaning of documentary essays centered on poor and destitute people.
Rosler is well known for her photomontages combining news photography with depictions of ideal homes and perfect bodies, producing a single frame as a way of highlighting the false disconnection between two public discourses.
Some of her best-known works deal with the geopolitical dilemmas of dispossession and entitlement.
This lecture is made possible by the George and Matilda Fowler Endowment Fund.
"Recent Work and Research"
Thursday, January 28, 2016
Lauren Fensterstock is an artist, writer, and curator based in Portland, Maine. Her work is held in private and public collections in the US, Europe, and Asia and has been the subject of numerous exhibitions including recent shows at The John Michael Kohler Art Center, The Contemporary Austin, The Pearlstein Gallery at Drexel University, and The Bowdoin College Museum of Art. Outside the studio, Fensterstock currently serves as a Critic at the Rhode Island School of Design. She previously served as Academic Program Director of the Interdisciplinary MFA in Studio Arts at Maine College of Art and as Director of the Institute of Contemporary Art at Maine College of Art. Her curatorial projects and published writings have been featured internationally. Fensterstock received a BFA from the Parsons School of Design and a MFA from SUNY New Paltz.
In an illustrated lecture, Lauren Fensterstock will share the motivations and research behind her recent work. Known for her intricately hand-cut paper installations, Fensterstock weaves together historical references spanning the Baroque, the Picturesque, Minimalism, and the decorative arts to explore the history of nature.
"Eye around Matter"
Thursday, Febraury 4, 2016
“The subject of my talk will be centered on my artistic practice, which explores our relationship to everyday objects and spaces. I will discuss my use of conflicting histories, memories, narratives and identities to confound and question presumed knowns. The talk will also address my manipulation and reinterpretation of art historical movements such as minimalism and examine how my work attempts to wrestle and collapse the past with the present. I will discuss my use of ‘blind spots’— the under-considered spaces we occupy as sites for activation. These sites aim to be democratic, granting agency to anyone who acknowledges this potential and decides to claim it. I will discuss my Caribbean ancestry in relationship to several projects, which address the collective experience of the diaspora as well as personal narratives and memories from my birth country.” - Karyn Olivier
Karyn Olivier, who was born in Trinidad and Tobago, received a MFA at Cranbrook Academy of Art and a BA at Dartmouth College. Her work has been exhibited nationally and internationally, including exhibitions at the Gwangju and Busan Biennials, Korea; World Festival of Black Arts and Culture, Dakar, Senegal; the Wanas Foundation, Sweden; The Studio Museum, Harlem; The Whitney Museum of Art, New York; MoMA P.S.1, Long Island City; The Museum of Fine Arts, Houston; The Contemporary Arts Museum, Houston; The Mattress Factory and Sculpture Center, Pittsburgh. In 2015 Olivier was commissioned to create public works for Creative Time in Central Park, New York and NYC’s Percent for Art Program. She is the recipient of the John Simon Guggenheim Memorial Foundation Fellowship, the Joan Mitchell Foundation Award, the New York Foundation for the Arts Award, a Pollock-Krasner Foundation grant, the William H. Johnson Prize, the Louis Comfort Tiffany Foundation Biennial Award and a Creative Capital Foundation grant. Olivier is currently an associate professor of sculpture at Tyler School of Art.
"In Conversation with Squeak Carnwath"
Thursday, February 11, 2016
“My paintings and prints draw upon the philosophical and mundane experiences of daily life to form lush fields of color combined with text, patterns, and identifiable images. My vocabulary is a personal one, but one that is accessible to a wide range of people. I am interested in our collective and individual responses to representation and memory. They also act as a record of my daily struggles, fears, and moments of clarity.”–Squeak Carnwath
Leah Levy wrote in Squeak Carnwath: Transformations, in Lists, Observations, & Counting,“The subjects of Carnwath’s works are the simple intimacies and subtle intricacies of life: modest objects that portend significance; the interrelationships of humans and other living beings; emotions and perceptions; and the element of time itself. In its exploration, Carnwath’s art emphasizes the way our lives are organized in and about the daily minutia that tend to echo a broader envisioning of space and time.”
Squeak has received numerous awards including the Society for the Encouragement of Contemporary Art Award from San Francisco Museum of Modern Art, two Individual Artist Fellowships from the National Endowment for the Arts, a Guggenheim Fellowship and the Award for Individual Artists from the Flintridge Foundation. Carnwath is Professor Emerita at the University of California, Berkeley. Publications featuring Carnwath’s work include: Squeak Carnwath: Lists, Observations, & Counting (1996); Squeak Carnwath: Painting is no Ordinary Object (2009); and Horizons on Fire: Works on Paper 1979-2013 (2014). Carnwath is a founding member and current president of the Artists’ Legacy Foundation. She lives and works in Oakland, CA.
This lecture is funded in part by a JSMA Academic Support grant in conjunction with the JSMA exhibition "Everyday is Not the Same: Squeak Carnwath's Prints and Papers" in the Artist Project Space from February 6–April 10, 2016.
Thursday, Febraury 18, 2016
“I began showing my work in 1985 and have always been interested in the meaning inherent in materials, as well as the linguistic implications of what something is called, which my art has often exposed the difference between. I am currently using more traditional art materials like paper, ceramics, paint, and wood but have also, and continue to use landscape materials bacteria and more contemporary means of facture like digital modeling and production. I feel the material is often the message, but the message is configured by form. Color has been an important aspect of what I do, and have done, and I use it to basically destabilize, dematerialize, and question the validity of the symbolic and semiotic aspects of my art. I am a female artist and my work reflects this.” – Liz Larner
Liz Larner received a BFA from the CalArts in 1985. She lives and works in Los Angeles. Larner has been the subject of numerous solo museum exhibitions, including a forthcoming exhibition at the Aspen Art Museum, 2015; the Art Institute of Chicago, 2015; the Museum of Contemporary Art, Los Angeles, 2001-02; the Museum of Applied Arts Vienna, Austria, 1998; and Kunsthalle Basel, Switzerland, 1997. She has been commissioned for multiple public artworks including the Byron G. Rogers Federal Building and Courthouse Plaza, Denver, 2015; University of California, San Francisco, Mission Bay Project, 2003; and the Riverside Pedestrian Bridge at Walt Disney Studios, Burbank, 2000. She has been the recipient of multiple awards including the Nancy Graves Foundation Grant, 2014; Smithsonian American Art Museum Lucelia Artist Award, 2002; and the Guggenheim Fellowship, 1999. Larner is represented by Regen Projects in Los Angeles, Tanya Bonakdar Gallery in New York, the Modern Institute in Glasgow, Scotland and Max Hetzler Gallery in Berlin.
This lecture is made possible by the generosity of Mr. and Mrs. Gay and Judi Davis and the Davis Family Endowed Fund in Art.
"Playing with Photography, Narrative, and the Book"
Thursday, February 25, 2016
Christian Patterson was born in Fond du Lac, Wisconsin and lives in New York, New York. Photographs are the heart of his work and are sometimes accompanied by drawings, paintings or objects. His work “Redheaded Peckerwood” was published by MACK in 2011 to critical acclaim, won the 2012 Recontres d’Arles Author Book Award and is now in its third printing. In 2013, he was awarded a John Simon Guggenheim Memorial Foundation Fellowship. In 2015 Walther König will publish his work Bottom of the Lake. Patterson is self-taught but lectures widely about his work. He is represented by Rose Gallery in Santa Monica and Robert Morat in Hamburg and Berlin. Patterson will discuss his work process from concept to creation to presentation with special attention on the book form.
Aram Han Sifuentes
"Embroidery in Translation: Globalization at the End of the Needle"
Reinhold Foundation Visiting Professional Lecture
Wednesday, March 30, 2016
Aram Han Sifuentes considers the complex impact of globalization and how it speaks through the end of the needle in the hands of immigrant laborers in and outside the garment industry, and artisans active in living textile traditions around the world. She will talk about her projects Amend: A Collection of Scraps from Local Seamstresses and Tailors (2011-2013), US Citizenship Test Sampler (2013-present), and Embroidery in Translation: Indigenous Chapanecan Artists Reinterpret Traditional Korean Textiles (2015-2016), which address themes of immigrant labor, immigration policy, citizenship, expressing one’s Americanness, embroidery as language and literacy, and skill sharing and exchange.
Aram Han Sifuentes learned how to sew when she was 6 years old from her seamstress mother. Han Sifuentes was born in Seoul, South Korea and immigrated to Modesto, California as a child. She mines from her family’s immigration experience to address issues of labor and explores identity as a first generation immigrant.
Han Sifuentes’s work has been shown in national and international exhibitions. Her work has been included in exhibitions at the Chung Young Yang Embroidery Museum in Seoul, South Korea; Wing Luke Museum of Asian Pacific American Experience in Seattle, WA; Center for Craft, Creativity and Design in Asheville, NC; and Elmhurst Art Museum in Elmhurst, IL. She earned a BA in Art and Latin American Studies from the University of California, Berkeley in 2008 and a MFA in Fiber and Material Studies from the School of the Art Institute of Chicago in 2013.
This lecture is sponsored by the UO Department of Art, Mrs. Carol Reinhold and Mr. B. Terry Reinhold, and the Reinhold Foundation.
“Art and The Social Context”
Monday, May 2, 2016
This lecture will illustrate the process of social engagement that Rick Lowe uses to develop community based projects on a number of levels. The lecture will will focus on the 20 development of Project Row Houses in Houston, Texas, Trans.lation: Vickery Meadow in Dallas, Texas, and Consumption: Kitchen of Corrections, Philadelphia, Pennsylvania.
Rick Lowe is a Houston-based artist who has exhibited and worked with communities nationally and internationally. His work has appeared in the Contemporary Arts Museum, Houston; Museum of Contemporary Arts, Los Angeles; Neuberger Museum, Purchase, New York; Phoenix Art Museum; Kwangju Biennale, Kwangju, Korea; the Kumamoto State Museum, Kumamoto, Japan; and the Venice Architecture Biennale. He is best known for his Project Row Houses community-based art project that he started in Houston in 1993. Further community projects include the Watts House Project in Los Angeles, the Borough Project in Charleston, SC (with Suzanne Lacy and Mary Jane Jacobs), the Delray Beach Cultural Loop in Florida, and the Anyang Public Art Program 2010 in Anyang, Korea. Among Rick’s honors are the Rudy Bruner Awards in Urban Excellence, the AIA Keystone Award, the Heinz Award in the arts and humanities, the Skowhegan Governor’s Award, the Skandalaris Award for Art/Architecture, and a U.S. Artists Booth Fellowship. He has served as a Loeb Fellow at Harvard University, a Mel King Fellow at MIT, an Auburn University Breedan Scholar, and a Stanford University Haas Center Distinguished Visitor. President Barack Obama appointed Rick to the National Council on the Arts in 2013 and in 2014 he was named a MacArthur Fellow.
This inaugural A&AA Interdisciplinary Lecture is sponsored by the School of Architecture & Allied Arts, the Departments of Architecture, Art, and Landscape Architecture.
2014–15 Visiting Artists
Jessica Jackson Hutchins
Thursday, October 9, 2014
Portland-based artist, Jessica Jackson Hutchins has risen to international visibility over the past few years for her exploration of many of the big-picture issues central to contemporary art, from questions posed by experimentation with art materials, scale, and abstraction to social concerns such as gender and the value of the art object. Among her best-known works are large-scale, additive sculptural collages that entwine found and constructed objects with the stuff of her own domestic life—including pieces of her own family’s clothing. Hutchins earned an MFA from the School of the Art Institute of Chicago and a BA from Oberlin College. She has been included in numerous exhibitions nationally and internationally. Most recently, her work has been included in solo projects at the Aldrich Museum, Eli and Edythe Broad Museum, and in group exhibitions such as the 2013 Venice Biennale and the 2010 Whitney Biennial. Jessica is represented by the Marianne Boesky Gallery, NYC, USA; Johann Koenig Gallery, Berlin, Germany; and Timothy Taylor Gallery, London, UK.
Thursday, October 16, 2014
Jane Lackey will lecture about the influences and resources that have guided the trajectory of her work over time. Long engaged in cross-disciplinary intersections, Lackey’s artworks infuse materials and process with active thinking. Conceptual ideas are slowly traced, entwined and materialized in drawings, sculpture and installations. Illusive aspects of movement, communication and our physical selves circulate in a narrative of mapped systems. Intimate and hand held or large scale and ambulatory, her works evoke self-reflection, scrutiny, comparison and interaction.
Lackey grew up in Tennessee and moved to the west coast where she earned a BFA from California College of the Arts and MFA from Cranbrook Academy of Art in Michigan. Her artwork has been exhibited nationally and internationally including the Wellcome Trust, London; Contemporary Art Space, Osaka, Japan; I Space, Chicago; Exit Art, NYC; Tang Museum, NY; Detroit Institute of the Arts, MI; The Art Gym, OR; Bellevue Art Museum and New Mexico Museum of Art. She has received grants from Artist Trust, Seattle, the NEA and the Illinois Arts Council.
Residency/fellowships include La Napoule Foundation, 1989; Camargo Foundation, 2005 and the JUSFC/NEA Creative Artist Exchange Fellowship in Japan, 2011. She was Professor at Kansas City Art Institute and then Artist-in-Residence, Fiber at Cranbrook Academy of Art. She is currently an independent artist based in Santa Fe, New Mexico. Publications include The Map as Art by Katherine Harmon, Art Now by Edward Lucie-Smith and Jane Lackey (monograph), Telos Art Publishing.
Reshaping Public Space
Tuesday, October 21, 2014
Janet Echelman builds soft, billowing sculpture at the scale of buildings that respond to the forces of nature- wind, water, and light. She combines ancient craft with cutting-edge technology to create ultra-lightweight sculptures that move gently with the wind in ever-changing patterns. Her art becomes an inviting focal point for civic life and shifts from being an object you look at, to something you can get lost in.
Recent prominent works include: Skies Painted with Unnumbered Sparks, a 745-ft sculpture that premiered at the 2014 TED Conference; Water Sky Garden, a commission for the 2010 Vancouver Winter Olympics; She Changes on the waterfront in Porto, Portugal; and Every Beating Second in San Francisco Airport's new Terminal Two. A recipient of the Guggenheim Fellowship, Echelman was named a 2012 Architectural Digest Innovator for “changing the very essence of urban spaces.” Her TED talk Taking Imagination Seriously has been translated into 34 languages and has been viewed by more than a million people worldwide.
Please join us for a pre-lecture public opening reception from 4:30- 5:30 p.m. at the Matthew Knight Arena for Janet Echelman’s Allegory, 2014, the newest artwork to join Oregon’s Art Collection, which is owned by the University on behalf of the State of Oregon. The work was commissioned by a panel of University representatives and the Matthew Knight Arena design team working with the Oregon Arts Commission.
"I was young and I needed the money…"
Thursday, November 6, 2014
A California native, Pae White is a multimedia artist known for reinterpreting familiar encounters and ordinary items—like animals, books, advertisements, shopping bags, and plants—and revealing what she calls the "artfulness" of the natural and the everyday. She employs ornate craftsmanship along with inventive materials to create objects and installations that transcend traditional boundaries between art and design. Nature is a recurring theme in her work, as is the transformation of space to engage an audience.
White has exhibited extensively in museums and galleries nationally and internationally and in 2014 had solo shows in 2014 at Kaufmann Repetto Gallery, Milan, Italy; neugerriemschneider, Berlin, Germany and greengrassi, London, England. Articles on her work have been published in numerous publications including Frieze, Tema Celeste, Contemporary, Art Monthly, and Artforum. She is the recipient of multiple awards, grants and fellowships and has completed many public commissions nationally and internationally. In addition, White has designed publications and advertisements for a number of museums, galleries, and magazines.
Thursday, November 13, 2014
Los Angeles-based Zoe Crosher uses photography as a starting point to examine the fiction of documentary, the materiality of the archive and the imaginary of the image. Through re-photography and ever-evolving iterations of both photographic and publishing-based work, she pursues a practice that is conceptual in orientation yet rooted in vernacular representation. Currently her multifaceted practice continues her conceptual mapping of the fantasy of Los Angeles, exploring the disconnect between the myth of going West and its reality. Out The Window (LAX) is an earlier project examining space and transience around the Los Angeles airport. For it, Crosher mapped and photographed planes coming into land through windows from inside thirty-one hotels surrounding LAX. A four-volume book series created with Aperture Ideas examines her most recent archive-obsessed work, The Michelle duBois Project.
Crosher has taught at UCLA and Art Center College of Design, and was Associate Editor of the journal Afterall after receiving her MFA from CalArts. In 2011 she was awarded the prestigious Art Here and Now Award by the Los Angeles County Museum of Art and is a recent recipient of the Rauschenberg Award. Her work has been included in MoMA’s 2012 New Photography exhibition as well as extensive exhibitions throughout the United States. Currently she is working with the Los Angeles Nomadic Division (LAND) on The Manifest Destiny Billboard Project, a series she initiated of artist-produced billboards and activations that will unfold along Interstate 10 Freeway from Florida to California through spring 2015. She is also working on a Photography & Repetition Conference in collaboration with Los Angeles based-artist Kim Schoen, to travel from LAXART in Los Angeles in winter 2015, to Art In General in New York in spring 2015 and potentially to Paris in fall 2015.
Thursday, November 20, 2014
Merging together Hollywood perceptions, history and current events, Brooklyn-based Rico Gatson’s sculptures, videos and paintings are politically and racially charged commentary on the American landscape. From footage of the Watts riots in 1965 to scenes from D.W. Griffith’s Birth of a Nation, racial injustice is navigated in his videos. Gatson’s two-dimensional works are equally as provoking as his video work. Abstractions in color, black or white are actually politically loaded symbols. His sculptural work also depicts symbols of racism and intolerance. The ideology of Gatson’s work is meant to spark dialogue about race and articulate identity politics.
Rico Gatson attended Bethel University in St. Paul, Minnesota, and the Yale School of Art in New Haven, Connecticut. Selected exhibitions include the Santa Monica Museum, Cheekwood Art Museum in Nashville, Tennessee, Studio Museum in Harlem, New York and Exit Art in New York. He is represented by Ronald Feldman Fine Arts Gallery in New York.
Thursday, January 15, 2015
Meg Cranston is an artist, writer and curator. Her work in sculpture, performance and painting has been shown in galleries and museums internationally. Her work was awarded the Solomon Guggenheim Fellowship and numerous other awards. Cranston and curator, Hans Ulrich Obrist, recently published, More Than You Wanted to Know About John Baldessari, a two volume collection of the artist’s complete writings.
Meg Cranston is the Chair of the Fine Arts department at Otis College of Art and Design.
Thursday, January 22, 2015
Audra Wolowiec is an interdisciplinary artist based in Brooklyn, NY. Through sculpture, installation, text and performance, she makes conceptually driven work with an emphasis on sound and the material qualities of language. She received a BFA from the University of Michigan and MFA from the Rhode Island School of Design. Her work has been shown at Magnan-Metz, Reverse, Art in General, Socrates Sculpture Park, MOMA P.S.1 and the Center for Performance Research. She has been an artist in residence at Bemis Center for Contemporary Art and the Physics Department at the University of Oregon. Her work has been featured in Time Out NY, The Brooklyn Rail, Hyperallergic, PennSound, and thresholds (MIT Dept of Architecture). She holds teaching positions at Parsons, The New School for Design, SUNY Purchase, and Dia:Beacon.
Audra Wolowiec will be discussing her interdisciplinary work that oscillates between sculpture, sound, performance and print-based work, as well as recent projects created during the Complex Systems Art and Physics Residency at the University of Oregon’s Corwin Lab. For one month, she became a working member of the physics lab, keeping office hours and attending meetings along with undergraduate and graduate research students. Delving into the archeology of failure, undertaking a series of mis-readings and ultimately, looking for human connection through the lens of theoretical physics, her experiences resulted in a participatory postcard series, games for creating random walks, and a new set of questions about what it means to be “complex.”
This lecture is sponsored in part by the Department of Art, Jordan Schnitzer Museum of Art, and the Complex Systems Art and Physics Residency at the CorwinLab at the University of Oregon.
Thursday, January 29, 2015
Ken Lum is an artist born in Vancouver, Canada. He presently resides in Philadelphia, Pennsylvania where he is a Professor in the School of Design, University of Pennsylvania. From 2000 to 2006 Ken Lum was head of the graduate program in studio art at the University of British Columbia, Vancouver, where he taught from 1990 until 2006. Lum joined the faculty of Bard College, Annandale-on-Hudson, in 2005 and worked there until 2007. He has been an invited professor at the École Nationale Supérieure des Beaux-Arts, Paris, the Akademie der Bildenden Kunst, Munich, California College of the Arts, San Francisco, and the China Art Academy, Hangzhou. Lum is co-founder and founding editor of Yishu Journal of Contemporary Chinese Art. He has published extensively; and recently completed an artists' book project with philosopher Hubert Damisch that was launched with Three Star Press, Paris. Lum was Project Manager for Okwui Enwezor's The Short Century: Independence and Liberation Movements in Africa 1945–1994 (2001). He was also co-curator of the 7th Sharjah Biennial (2005), and Shanghai Modern: 1919–1945 (2005). Lum has exhibited widely, including São Paulo Biennial (1998), Shanghai Biennale (2000), Documenta 11 (2002), the Istanbul Biennial (2007), and the Gwangju Biennale (2008), Moscow Biennial 2011 and the Whitney Biennial 2014. He has published many essays on art. He has also realized permanent public art commissions for the cities of Vienna, Vancouver, Utrecht, Leiden, St. Moritz, Toronto and St Louis.
This lecture is made possible by the George and Matilda Fowler Endowment Fund.
"Theory of Survival"
Thursday, February 19, 2015
Taraneh Hemami multi-dimensional work explores themes of displacement, preservation, and representation. Examining the careful crafting of images as propagated for power and political gain, her recent handcrafted replications of historical archives serve as commemoratives to events, places and people, while commenting on tools of manipulation and persuasion used across nations and histories. Hemami's collective and curatorial projects create connections through experimental projects between artists, writers and scholars, while promoting and provoking dialog as part of their process and presentation, to explore various topics from martyrdom to the reflections of the everyday. She is the recipient of a Creative Work Fund, a Visions for the New California, Kala Fellowship, a Eureka Fellowship Award, Center for Cultural Innovation's Artistic Innovation Award, a Creative Capital grant and Individual Artist Awards from the San Francisco Arts Commission. She currently teaches at the California College of the Arts.
Theory of Survival has collected historical archives from local communities and the web through residencies and collective actions since 2007. The collections include decades of otherwise banned and censored print matter belonging to the Iranian Students Association of Northern California active from 1964-1984, that reflect the political sensibilities of the Iranian student organizations worldwide in books, periodicals, newspapers, analytical essays, theoretical discourse, and translations, published both inside and outside of Iran. Theory of Survival is presented as an evolving laboratory for creative exchange and collaborations as residencies in educational and cultural institutions, as well as public exhibition spaces. The project invites audiences to become active participants engaging with the material production of the layered archive of these politically critical years- between the CIA coup détat to the aftermath of the Iranian revolution.
"Ultraconcentrated: Image, Media, Software"
Thursday, February 26, 2015
Casey Reas is an artist and educator based in Los Angeles. He has exhibited, screened, and performed his work internationally in galleries and museums around the world. Reas is a professor at the University of California, Los Angeles. He holds a master’s degree from the Massachusetts Institute of Technology in Media Arts and Sciences, as well as a bachelors degree from the School of Design, Architecture, Art, and Planning at the University of Cincinnati. With Ben Fry, Reas initiated Processing in 2001, an open source programming language and environment created for visual artists.
Within the visual arts, software is a misunderstood medium. It's dismissed by some and championed by others, but it remains an enigma to most. Certainly, software is the dominant tool for design and production, but it can be more. Will software emerge as the next prominent art medium in the post-photographic world? What is a software studio? What is unique about working with software in the context of the visual arts? How does an artist learn to write software? Casey Reas has written custom software for over a decade to explore visual systems and emergent form. In this presentation, a hybrid of a screening and a presentation, he will share a selection from twelve years of work to address these questions.