Exhibitions
OPEN/END Master of Fine Arts 2008
Now through June 15, 2008
The Jordan Schnitzer Museum of Art, the Department of Art, and School of Architecture and Allied Arts present an exhibition of the work of the 2008 MFA graduates in Art. Featured artists in the exhibition include Jaylene Arnold, digital arts; Michael Bray, digital arts; Karrie Harbart, metalsmithing; Joshua Jalbert, photography; Brian Knowles, printmaking; Alvi Lufiani, metalsmithing; Johnnie Mazzocco, digital arts; Rani Robison, photography; Jane Snar, sculpture; Shelley Socolofsky, fibers; Chang-Ae Song, painting; and Ty Warren, digital arts. More information
Late 19th-century French paintings
Now through June 8, 2008
Five paintings by well-known French Impressionist and Post-Impressionist painters will be on exhibit in the museum’s European Gallery. The paintings include works by Pierre-Auguste Renoir (1841-1919), Paul Cézanne (1839–1906), Camille Pissarro (1830-1903), Paul Signac (1863-1935), and Henri Martin (1860-1943). Image Credit: Pierre-Auguste Renoir, Vase de fleurs, n.d., oil on canvas, private collection.
John Piper: Through the Lens
Now through July 13, 2008
John Piper: Through the Lens examines the artist’s use of the camera as a mediating device and his placement of the viewer in the position of voyeur. Exhibited works from the Eye and Camera series consider Piper’s fragmentation of the female form through the combination of photography, collage and silkscreen. His images present the female body as an emblem, removing all individuality and rendering it an object of display. Experimenting with Pop Art techniques, Piper fragments, manipulates and obscures his subject to tantalize and draw in the viewer.
From Rags to Riches
Now through June 8, 2008
According to traditional accounts, the Buddha is said to have instructed his disciples to wear garments patterned like a rice field divided by furrows, and fashioned from soiled and discarded cloth. Patched together after the material was purified and re-sewn, these shawl-like outer robes, called kasaya, were intended as a symbolic manifestation of the vow of poverty and the renunciation of the material world that were the cornerstones of monastic ideology.
In Japan, a somewhat paradoxical practice evolved of making kasaya (known as kesa in Japanese) out of luxurious brocades and silks, while still preserving the patchwork garment’s original evocation of poverty and austerity.
The kesa on view in this installation exemplify the variety and richness that monastic “rags” eventually assumed in Japanese Buddhism, and also bear testimony to the enduring symbolic power of the humble garment devised by the Buddha nearly 2,500 years ago.
A Gaze of Her Own: Women in Japanese Art
Now through October 12, 2008
From earliest times through the present, Japanese culture has realized the equality of men and women in many ways. Women’s voices were included in Japanese literary and religious canons since the myths were first written down in the Kojiki and the first poetry anthology, the Manyoshu. As many of the works in this installation illustrate, women have also served as important subjects in the visual arts, especially for woodblock print artists. Less commonly, though nonetheless importantly, women also on occasion rose to prominence as artists themselves. Indeed, the multi-talented Otagaki Rengetsu, several of whose ceramics are on view, is one of the best known and best loved artists of her generation.
A GAZE OF HER OWN was organized by Mara Miller, Visiting Assistant Professor of Art History, and her students in ARH 399, Kathryn Barton, Ryan Kramer, Miwako Okagami, and Patrick Terry.
Elizabeth Keith in Korea
From the
Murray Warner Collection of Oriental Art, a series of woodblock prints by Scottish artist Elizabeth Keith are on display in the Huh Gallery. Keith lived in Asia for many years, recording scenes of everyday life first in paintings and later by using traditional woodblock printing; she was also one of the first Westerners to depict the topography, costumes and social customs of Korea. The colorful scene of a traditional marriage ceremony depicted in "Country Wedding Feast" exemplifies Keith's close observations of the rituals of daily life. In 1937, The Jordan Schnitzer Museum of Art (then the UO Museum of Art) became the first university art museum to exhibit Keith's work, and in 1974 it mounted the first retrospective subsequent to her death in 1956.
Divine Forms: South and Southeast Asian Art from the Collection
On-going
The traditional visual culture of South and Southeast Asia is deeply rooted in religion (primarily Hinduism and Buddhism), and the attempt to express spirituality through art. Drawing on works from the JSMA collections, "Divine Forms" explores this seemingly paradoxical desire to embody the sacred in mundane forms.
Also on View
In addition to our 4,000-square-foot Changing Exhibition Gallery, you will encounter a selection of galleries that reflect the range of the museum's 12,500-piece art collection and the mission of the museum. Opening exhibitions in our collections galleries will present works from the museum, as well as pieces loaned to the museum. Highlights within each gallery will rotate regularly, offering new perspectives to returning visitors.
Collections Galleries Exhibitions:
Not Far From Here: Modern and
Contemporary Art in America
Schnitzer Gallery
Status and Authority in Imperial China
Soreng Gallery
Art and Everyday Life in Japan
Preble/Murphy Wing
True Views: Traditions of Korean
Painting
Huh Wing and Jin Joo Gallery
Holy Icons of Russia
McKenzie Gallery