University of Oregon

Department of Art

Visiting Artist Lecture Series: 2016-17

The University of Oregon Department of Art is pleased to present the 2016-17 Visiting Artist Lecture Series, which is free and open to the public.

All lectures begin at 6:00 p.m. on Thursdays in Lawrence Hall, room 177, unless otherwise noted.

Students may register for the Department of Art course ART 407 and receive 1 unit of credit for attending the Visiting Artist Lectures.

A video archive of recent lectures can be found on the Department of Art’s UO Channel.

FALL 2016

October 6
Ruby Neri

October 13
Stephanie Syjuco

October 20
Benjamin Levy

October 27
John Divola

November 3
Sam Moyer

November 10
Ruba Katrib

November 17
William Wylie


January 17*
Benjamin Bratton
*A Tuesday lecture at 6:00 p.m. in LA 115

January 26
Marianne Fairbanks

February 2
Julia Bradshaw

February 9
Michelle Grabner

February 16
Nora Noranjo Morse

February 23
Jeremy Bailey

February 27*
Erkki Huhtamo
A&AA Interdisciplinary Lecture
*A Monday lecture at 6:00 p.m.

March 9
Sandow Birk

March 17*
Julie York, Tim Berg &
Rebekah Meyers

*A Friday lecture at 12:30 p.m.


April 13 
MK Guth



Ruby Neri


Thursday, October 6, 2016

Untitled (Tall Double Lady), 2016, ceramic with glaze, 63 1/4 x 33 x 28 inches. Courtesy of David Kordansky Gallery, Los Angeles. Photo by Lee Thompson.
Ruby NeriPhoto by Sabina McGrew

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.

Watch a video of Ruby Neri's lecture

Stephanie Syjuco

Practicing in Public: Artistic Agency within Global Collaborative Contexts

Thursday, October 13, 2016

Money Factory (An Economic Reality Game), 2015. Commissioned for the Asian Art Biennial, National Taiwan Museum of Fine Arts, Taichung, Taiwan. Image courtesy of the artist.
Photo courtesy of the artist

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.

Watch a video of Stephanie Syjuco's lecture

Benjamin Levy

Technically Conceptual / Conceptually Technical: Stanley William Hayter and the Atelier 17

Thursday, October 20, 2016

artwork produced in printshop
Investigating the conceptual and technical development of Stanley William Hayter through hands on research in the printshop.

Photo courtesy of the artist

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. 

Watch a video of Benjamin Levy's lecture

John Divola

The Landscape and Things in the Way

Thursday, October 27, 2016

Zuma Series / Zuma #25, 1978

Photo courtesy of the artist

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.

Watch a video of John Divola's lecture

Sam Moyer

Stone Hinge

Thursday, November 3, 2016

Delta Dawn, 2016, Stone, marble, dyed canvas mounted to MDF
Delta Dawn, 2016, Stone, marble, dyed canvas mounted to MDF, 88 x 66 x .75 inches
Sam MoyerPhoto courtesy of the artist

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.

Watch a video of Sam Moyer's lecture

Ruba Katrib

Sculpture as Substance

Thursday, November 10, 2016

Ruba KatribFollowing 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.

Watch a video of Ruba Katrib's lecture

William Wylie

Site as Archive

Thursday, Novmeber 17, 2016

Pompeii, 2015

The Artist on Vesuvius, Photo courtesy of the artist

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.

Watch a video of William Wylie's lecture

Benjamin Bratton

George and Matilda Fowler Lecture

Tuesday, January 17, 2017

Marianne Fairbanks

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.

Watch a video of Benjamin Bratton's lecture

Marianne Fairbanks

Impractical Weaving Suggestions

Thursday, January 26, 2017

Marianne Fairbanks
Photo credit: John Hart
Overhand, 2016, print, reflective fabric, spray paint, nylon flag cloth, 20”x 25”
Overhand, 2016, print, reflective fabric, spray paint, nylon flag cloth, 20”x 25”

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.

Watch a video of Marianne Fairbanks' lecture

Julia Bradshaw

Photographic Projects: Context

Thursday, February 2, 2017

Julia Bradshaw
Photo credit: Julia Bradshaw
colorful circular shape on black background
Circle, 2016

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.

Watch a video of Julia Bradshaw's lecture

Michelle Grabner

Davis Family Lecture

Thursday, February 9, 2017

Michelle Grabner

Untitled, 2016, bronze cast of fabric stencil
Untitled, 2016, bronze cast of fabric stencil

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.

Watch a video of Michelle Grabner's lecture

Nora Naranjo Morse

Always Becoming

Thursday, February 16, 2017

Nora Naranjo Morse
"The Black, White and Brown of It" Clay installation.
"The Black, White and Brown of It" Clay installation. Photo credit: Addison Doty

 "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

Visiting Scholar Program logo

Watch a video of Nora Naranjo Morse's lecture

Jeremy Bailey

Pinch to Zoom

Thursday, February 23, 2017

Jeremy Bailey
Self Portrait, 2015, courtesy the artist
Patent Drawing of Apparatus for the Display and Control of Software Utilities and Chest Fashion on the Internet
Apparatus for the Display and Control of Software Utilities and Chest Fashion on the Internet, 2015, Patent Drawing

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.

Watch a video of Jeremy Bailey's lecture

Erkki Huhtamo

Screenology, or Media Archaeology of the Screen

A&AA Interdisciplinary Lecture

Monday, February 27, 2017
Reception: 5:30 p.m.
Lecture: 6:00 p.m.

Erkki Huhtamo
Erkki Huhtamo, 2014. Photo credit: Marta Nijhuis
artwork from the Erkki Huhtamo Collection
Photo credit: Erkki Huhtamo Collection

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.

Watch a video of Erkki Huhtamo's lecture

Sandow Birk

American Qur’an

Thursday, March 9, 2017

Sandow Birk
Photo credit: Elyse Pignolet
“American Qur’an - Sura 9”, 2016. Ink and Gouache on Paper, 16” x 24”
“American Qur’an - Sura 9”, 2016. Ink and Gouache on Paper, 16” x 24”. Courtesy of Catharine Clark Gallery, San Francisco.

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 Quran 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.

Watch a video of Sandow Birk's lecture

Julie York, Tim Berg, and Rebekah Myers

Julie York: “Under the Influence” // Tim Berg & Rebekah Myers: “Glimpses”

Friday, March 17, 2017 at 12:30 p.m.

These lectures are made possible in part by the Robert C. James Endowed Fund in Ceramics.

Watch a video of these lectures

Julie York
Photo credit: Candace Meyer
render of a rendering, 2016, porcelain, 30" x 36"
render of a rendering, 2016, porcelain, 30" x 36"

Julie York

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.


Rebekah Myers and Tim Berg
Photo credit: Rebekah Myers and Tim Berg
black sculpture on walnut table
a thing of the past, 2013, walnut table, epoxy coated foam, ceramic, glass, electronics, 66 x 70 x 70 inches

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.

MK Guth

Interaction and the Social Landscape

Thursday, April 13, 2017

MK Guth

Installation view of “Shout Recount Get Drunk”, table and chairsInstallation view of “Shout Recount Get Drunk” at Cristin Tierney, New York, 2016

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.

Watch a video of MK Guth's lecture