University of Oregon

Department of Art

Visiting Artist Lecture Series: 2014-15

Jessica Jackson Hutchins

Green Going

Thursday, October 9, 2014

Talking Stone, 2012, glazed ceramic, macramé, 20 1⁄2 x 16 7⁄8 x 15 3⁄4 inches
Talking Stone, 2012, glazed ceramic, macramé, 20 1⁄2 x 16 7⁄8 x 15 3⁄4 inches
Jessica Jackson Hutchins,  Photo credit: Matilde Cerruti Quara
Photo credit: Matilde Cerruti Quara

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.

timothytaylorgallery.com/artists/jessica-jackson-hutchins/

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Jane Lackey

Mapping Active-Passive

Thursday, October 16, 2014

Enveloping Space: Walk, Trace, Think (detail of entry), 2014, site-specific installation at Center for Contemporary Art, Santa Fe, NM. Photo credit: Addison Doty
Enveloping Space: Walk, Trace, Think (detail of entry), 2014, site-specific installation at Center for Contemporary Art, Santa Fe, NM. Photo credit: Addison Doty
Jane Lackey, photo credit: Eric Swanson
Photo credit: Eric Swanson

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.

www.janelackey.com

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Janet Echelman

Reshaping Public Space

Tuesday, October 21, 2014

Skies Painted with Unnumbered Sparks at the 2014 TED Conference in Vancouver, nearly 145 miles of braided fiber spanning 745 feet from a 24-story. Photo credit: Ema Peter
Skies Painted with Unnumbered Sparks at the 2014 TED Conference in Vancouver, nearly 145 miles of braided fiber spanning 745 feet from a 24-story. Photo credit: Ema Peter
Janet Echelman, Photo credit: Todd Erickson
Photo credit: Todd Erickson
 

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.

www.echelman.com


Pae White

I was young and I needed the money…

Thursday, November 6, 2014

Egg Painting, 2013, eggs, drywall, paint and hardware, 43.5 x 47 x 10 cm
 Egg Painting, 2013, eggs, drywall, paint and hardware, 43.5 x 47 x 10 cm
Pae White, photo credit: Joe Goode
Photo credit: Joe Goode

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.

1301pe.com/artists/images.asp?aid=2

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Zoe Crosher

Enthusiast

Thursday, November 13, 2014

The Additive Dust Series no.39 from the series The Disappearing of Michelle duBois
The Additive Dust Series no.39 from the series The Disappearing of Michelle duBois, 2012, Digital C-Print, 21 x 31 inches
Zoe Crosher, photo credit: Tony Byrd
Photo credit: Tony Byrd

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.

www.zoecrosher.com

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Rico Gatson

Thursday, November 20, 2014

Soulfood, 2011, latex paint on wood panel, 27.25 × 43.25 inches
Soulfood, 2011, latex paint on wood panel, 27.25 × 43.25 inches
Rico GatsonRico Gatson

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.

ricogatson.com

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Meg Cranston

500%

Thursday, January 15, 2015

Drawing for Ping Pong Paddle, 2014, ink on paper, 14 x 11 inches
Drawing for Ping Pong Paddle, 2014, ink on paper, 14 x 11 inches
Meg Cranston, Los Angeles Times
Photo credit: Los Angeles Times

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.  She is the Chair of the Fine Arts department at Otis College of Art and Design.

More about Meg Cranston can be found here.
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Headshot caption- Photo credit: Los Angeles Times
Image caption: Drawing for Ping Pong Paddle, 2014, ink on paper, 14 x 11 inches

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Audra Wolowiec

Complex Systems

Thursday, January 22, 2015

- Concrete Sound, 2013. These cast concrete forms, based on acoustic foam panels found in sound recording studios, accumulate to form muted landscapes. Image courtesy the artist.
Concrete Sound, 2013. These cast concrete forms, based on acoustic foam panels found in sound recording studios, accumulate to form muted landscapes. Image courtesy the artist.
Pae White, photo credit: Joe Goode
Photo credit: Katarina Hybenova

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.”

audrawolowiec.com
Project site: complex-systems.tumblr.com
Corwin Lab: phasmid.uoregon.edu

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.

The Complex Systems Art and Physics Residency at the CorwinLab is supported by the NSF under CAREER Award No. DMR-1255370.
Jordan Schnitzer Museum of ArtNational Science Foundation logo
 

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Ken Lum

Thursday, January 29, 2015

Midway Shopping Plaza, 2014, Powder-coated aluminum and enameled plexiglass, 204 × 150 inches
 Midway Shopping Plaza, 2014, Powder-coated aluminum and enameled plexiglass, 204 × 150 inches
Ken Lum
Ken Lum

Ken Lum presented by the George and Matilda Fowler Endowment Fund

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.

Watch lecture video here


Taraneh Hemami

Theory of Survival

Thursday, February 19, 2015

Blood Curtain, 2013, from the Theory of Survival fabrications- 3-layer beaded curtain with 8mm faceted beads, thread, stainless steel, 64 x 5 x 94 inches. Photo credit/: Jay Jones
Blood Curtain, 2013, from the Theory of Survival fabrications-3-layer beaded curtain with 8mm faceted beads, thread, stainless steel, 64 x 5 x 94 inches. Photo credit: Jay Jones
Tarane Hemami, Photo Credit: Tommy Lau
Photo credit: Tommy Lau

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.

taranehhemami.com

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Casey Reas

Ultraconcentrated: Image, Media, Software

Thursday, February 26, 2015

Detail of Control Room (Forward Command Post), 2013, 5 unique c prints, 59 x 19 inches
Detail of Control Room (Forward Command Post), 2013, 5 unique c prints, 59 x 19 inches
Casey Reas, photo credit: Mark Blower
Photo credit: Mark Blower

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.

reas.com

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