A history of exhibitions lies below. Click on the "More Detail" link for more information about a particular exhibit. To browse all of the objects featured in an exhibition, click on that exhibit's "Search for all items" link.
MGW summer 2017 rotation More Detail Search for all items
organized by MGW intern Meredith Lancaster.
Diálogos More Detail Search for all items
Organized by Cheryl Hartup, Associate Curator of Academic Programs and Latin American Art, “Diálogos” — the Spanish word for dialogues— activates exchanges between art and artists, the viewer and the object, and the museum and the communities it serves. The exhibition features fifteen prints, photographs, kinetic sculptures, and mixed media objects by artists from Cuba, Colombia, Mexico, Peru, and the United States.
“‘Diálogos' began with the conversations I saw taking place between works of art, and I installed objects in pairs and small groups to reflect these interchanges,” says Hartup. “Each label begins with a question to start an exchange with the viewer.”
The exhibition is a multi-sensory, participatory experience, and is organized around three themes: violence and oppression; psychological and physical borders; and a quest for knowledge about the self, seen through the prisms of history, culture and geography. This exhibition aims to encourage dialogue around these themes, as they are relevant to contemporary life.
On Wednesday, May 3, at 5:30 p.m., Hartup and University of Oregon graduate students Rucha Chandvankar, Brian Lane, and Victoria Lee, will discuss the exhibition.
“Students worked with me closely on all aspects of the exhibition. They conceptualized and designed two visitor response stations in the gallery, and we encourage visitor participation in the dialogue,” says Hartup. “Also, students were instrumental in writing interpretive texts that accompany each work of art in the exhibition.”
The JSMA will also host an Oregon Humanities Conversation with Manuel Padilla titled “The Space Between Us: Immigrants, Refugees, and Oregon” on Wednesday, May 24, at 5:30 p.m. Participants will consider questions of uprootedness, hospitality, identity, perception, and integration, and how we might build more responsive communities. Padilla has done peace work in Haiti, Chad, and Washington, DC, working with internally displaced people, immigrants, and refugees, and is currently implementing reconciliation workshops in refugee contexts with the Jesuit Refugee Service. This program is made possible by the Oregon Humanities Conversation Project.
Mark Tobey and the Calligraphic Line More Detail Search for all items
Works from the JSMA Collection, including new acquisitions from the Elizabeth Cole Butler Estate, by Pacific Northwest artist Mark Tobey. The paintings and lithographs on view demonstrate how Tobey's interest in and study of Chinese calligraphy led to the development of his signature "white writing," all-over calligraphic marks that convey energy and light.
MacKinnon February 2017 rotation More Detail Search for all items
Rotation of objects from collection.
Between East and West: Gandharan Art from the JSMA More Detail Search for all items
Gandhara is the ancient name for a kingdom that was located in what is now Afghanistan and Pakistan. Gandharan sculpture often combines Buddhist subject matter with a style that is associated with Greek and Roman art. This display of cross-cultural exchange began when Alexander the Great conquered the region in the late 4th century B.C.E., and it continued through the Indo-Greek kingdoms (2nd century B.C.E.–1st century C.E.) to the Kushan Empire (1st–3rd centuries C.E.) and beyond.
David McCosh and the Midwest Regional Lithograph Tradition More Detail Search for all items
Drawing from the JSMA’s permanent collection and the McCosh Memorial Collection, this exhibition includes prints by David McCosh, Thomas Hart Benton, Grant Wood, Francis Chapin, and Persis Weaver Robertson to highlight common themes and techniques in regional lithography during the 1930s and ‘40s. McCosh Associate Curator Danielle Knapp was assisted by curatorial interns Madeleine Kern and Claire Sabitt in organizing the exhibition.
To Paint Big, Start Small - Lucinda Parker's Studies for a Glade of Many Ages More Detail Search for all items
Portland-based artist Lucinda Parker, one of Oregon’s finest painters, has established her reputation for vividly colored, highly abstract representations of nature and the biological and geographic diversity of this region. In 2010, Parker was selected for a major Percent for Art commission for the Ford Alumni Center’s Giustina Ballroom. Her resulting 9 x 18 foot mural, A Glade of Many Ages, has been enjoyed by thousands of university faculty, staff, students, and visitors over the past five years. Early designs for this important mural varied from snowy mountain imagery to rigidly geometric landscapes influenced by the artist’s long-held interest in Cubism. The JSMA is pleased to present Parker’s fifteen exploratory studies in gouache alongside her preparatory sketches and other source materials. McCosh Associate Curator Danielle Knapp was assisted by curatorial intern Madeleine Kern in organizing the exhibition.
Cuba Ocho More Detail Search for all items
The eight artists featured in this exhibition—Miguel Couret, Alejandro Gonzalez, Aimeé Garcia Marrero, Ibrahim Miranda, Cirenaica Moreira, Elsa Mora, René Peña, and an anonymous creator of a cut–and-paste book from the Cuban Revolution — reinterpret Cuban history through their provocative and politically charged works. All began their careers during the “Special Period,” an era marked by the economic and cultural crisis following the departure of the Soviet Union as Cuba’s primary trade and military partner in the early 1990s. The consequent challenges of living in a land of great potential but little opportunity inspired these artists to conflate the portrayal of their own identities with that of their nation’s history. Humor, pathos, and irony are all present, often simultaneously, in their expressions of an erratic and surreal Cuban reality. Most of these artists were trained at the island’s fine arts academies, which are among the finest in the world. Their technical expertise, command of materials, thorough knowledge of Western art history, and participation in vibrant artist communities have given rise to some of the most provocative and compelling art created in the world today. Most of these works were acquired by JSMA executive director Jill Hartz during her fourth visit to Cuba, during the 2015 Havana Biennial. Cuba Ocho was organized by Amelia Anderson, a second-year MA graduate student in art history, and Jill Hartz.
Between the World and Me More Detail Search for all items
This exhibition takes its name from Ta-Nehisi Coates’ book Between the World and Me, the subject of the UO’s “Common Read” for freshmen next academic year. Written as a letter to his teenaged son, Coates addresses what it means to be black in the United States and speaks to the fear of bodily harm at the hands of the police. The autobiographical nature of his book parallels the visual narratives created by contemporary Post-Black artists, such as Theaster Gates, Mildred Howard, Rashid Johnson, Glenn Ligon, Hank Willis Thomas, and Kara Walker. In addition, Between the World and Me interacts with the legacy of the Civil Rights Movement, a moment in history reflected in Robert Colescott’s works. The artists and artworks chosen for this exhibit are interested in reconsidering the complexity of the black experience in America. The exhibition is drawn mostly from private collections and is organized by JSMA’s Executive Director Jill Hartz and Amelia Anderson, a graduate art history student at the university.
Preble Murphy rotation - The Japanese Art of Edo More Detail Search for all items
This rotation focuses on Japanese woodblock prints, paintings, calligraphy, sculpture, ceramics, textiles, lacquers, and netsuke dating primarily from the Edo period (1615–1868), a time of peace and great artistic diversity. Historic examples are juxtaposed with selected earlier and later Japanese objects, ranging from Heian-period (794–1185) calligraphy to early twentieth century propaganda textiles, a Japanese Friendship Doll, and cutting-edge contemporary art. This installation provides visual source material for 2016–17 art history courses, including one taught collaboratively by Professor Akiko Walley and JSMA curator Anne Rose Kitagawa in which students will help to plan a future special exhibition.
¿Identity? Victoria Suescum and Lee Michael Peterson More Detail Search for all items
¿Identity? is an English word contained within Spanish punctuation. It is what might be considered “Spanglish”—and English/Spanish hybrid—for a Latino reality experienced in and between two languages. ¿Identity? explores the emotional and physical realities the multiple heritages of two artists, Victoria Suescum and Lee Michael Peterson. Their art is rooted in two different Latino/a experiences. Born in the United States to Panamanian parents, Victoria Suescum grew up in Panama before returning to the United States in 1988. Raised in the Rio Grande Valley in Texas, Lee Michael Peterson identifies as a Mexican-American. The works on view investigate what it means for each artist to identify as Latino/a, and how each artist expresses this identity visually. ¿Identity? grew out of a mentoring relationship between Suescum—an internationally-exhibited artist and Associate Professor at Austin Community College—and Peterson, who received his M.F.A. from the University of Texas at San Antonio in 2013. The exhibition thus also is an exploration of the relationship between teacher and student.
¿Identity? is supported by Drs. Elizabeth D. Moyer and Michael C. Powanda.
Splendor and Light: Russian Art from the Collection More Detail Search for all items
The objects on view in this gallery reflect the rich variety of Russian art in the collection of the Jordan Schnitzer Museum of Art. Gertrude Bass Warner, the founder of the University of Oregon Museum of Art, as it was then known, acquired an impressive group of Russian Orthodox icons as part of the Murray Warner Memorial Collection of Oriental Art. She continued to add to the collection after she gifted it to the University of Oregon, and other donors have augmented this legacy with additional gifts. This rotation includes highlights from the collection of icons from the 17th through 19th centuries, as well as examples of cast metal crosses and icons. Selections from a recent gift of lacquer boxes made in the 1970s and ‘80s demonstrate the connections between the sacred and secular arts.
The Jordan Schnitzer Museum of Art is grateful to Anastasia Savenko-Moore, a 2015 Master’s graduate of the Department of Russian, East European, and Eurasian Studies, and Heghine Hakobyan, Slavic Librarian, for their assistance with this exhibition.
An icon (from the Greek word eikon, or image) is a holy image that represents Jesus, Mary, Christian saints, or stories from their lives. Icons are made from a variety of media, including paint, metal, fresco, mosaic, textiles, or even gems. Considered by Eastern Orthodox Christians as windows to heaven, icons give visual form to the invisible presence of God. They are used as focal points for devotion and as conduits for prayer. Legends tell of the miraculous powers of icons to answer prayers, heal the sick, or protect warriors in battle. Icon painters—known as icon writers—often base their images on well-known models dating back to the Byzantine Empire, imbuing their work with the sacredness of the miracle-working originals.
Icons are used in the church as well as the home. Eastern Orthodox churches separate the space reserved for the clergy from the space used for the congregation with a wall or screen of icons called an iconostasis (ay-kuh-NAS-tuh-sis, from the Greek word for icon stand). In a traditional Russian home, icons are kept in a special corner known as the krasnyi ugol (literally, “red corner,” but also known as the “beautiful corner”). The display includes icons of Jesus, Mary, and a family’s patron saints, along with a lamp and other sacred objects.
The Face of War: Gabor Peterdi and his Contemporaries More Detail Search for all items
The Face of War: Gabor Peterdi and his Contemporaries
The turmoil brought on by the two World Wars of the twentieth century stimulated the production of terrifying, yet visually striking works by artists on both sides of the Atlantic. This exhibition features prints by Hungarian-American printmaker Gabor Peterdi (1915–2001) and three of his contemporaries: Canadian illustrator Kerr Eby (1890–1946) and American artists John Sloan (1871–1951) and Joseph Pennell (1857–1926).
Speaking about war, Peterdi declared, “The six-year interval between 1933 and 1939 was a violent, tragic period in the world…our life was engulfed more in hatred, bitterness and anguish for the future.” Although the prints in this exhibition span a broader range of years, this quote encapsulates the general anxieties of a nation engaged in warfare and provides context for the shocking and powerful imagery produced by first-hand witnesses. The Face of War focuses on the multiple facets of life during wartime, such as the production of ammunition, the isolation of soldiers, the psychological and physical damages of battle, and the glorification of the military uniform.
The Face of War: Gabor Peterdi and His Contemporaries features works from the collection of Elizabeth D. Moyer, Ph.D., and Michael C. Powanda, Ph.D, of the KMP Collection, as well as works in the collection of the JSMA. The exhibition was organized by Chyna Bounds, a graduate student in the Department of the History of Art and Architecture, under the guidance of Senior Curator of Western Art Johanna G. Seasonwein.
Margo Grant Walsh 2016 Rotation More Detail Search for all items
When tea was first brought to the American colonies, the high cost of tea leaves meant that it was enjoyed only by the wealthy. In the 17th and 18th centuries, tea culture gained momentum and became widespread across all classes. Many Americans switched from drinking tea to coffee during the American Revolution, as it was considered unpatriotic to drink tea. However, tea drinking re-emerged as an important element of social life in the ensuing decades. Today, tea is the world’s most popular beverage (after water), and there is a renewed interest in the United States in preparing and drinking fine teas.
A tea set can be utilitarian or luxe. A standard seven-piece service includes a tea kettle, teapot, coffee pot, creamer, sugar bowl, tray, and a waste bowl for the tea leaves. Sterling silver has long been favored for tea sets because of its ability to retain heat. The ivory inset in the handle of some tea and coffee pots is not purely for decoration, but serves as an insulator and keeps the handle cool to the touch. Tea is commonly consumed with sweet and savory treats, such as compotes, scones, cakes, and sandwiches. Included in this display is a selection of dessert bowls and compote dishes that might have been used for such delights, as well as pots for two other popular beverages: coffee and chocolate.
From Past to Present:Selected Masterworks of Korean Art More Detail Search for all items
This exhibition features traditional and contemporary Korean art in many media. One gallery focuses on contemporary paintings, ceramics, and sculptures and includes a number of exciting recent acquisitions created by artists such as KIM Hanna, KIM Yik-yung, and PAIK Nam June. The other gallery displays traditional Korean folk paintings and celadons.
African Ceramics from the Collection of Keith Achepohl More Detail Search for all items
Keith Achepohl, a noted printmaker and Professor Emeritus of Art at the University of Iowa, acquired his first African pot on a trip to Egypt in 1977. Over the following decades, Mr. Achepohl would go on to assemble an important collection of African ceramics, many of which are now in the collection of the Art Institute of Chicago and were featured in an exhibition there in 2005.
These three pots, from three different regions, reflect different artistic traditions, styles, textures and uses. All were built by hand, without the use of a wheel, and all reflect Mr. Achepohl’s interest in beautiful forms. The Jordan Schnitzer Museum of Art is grateful for Mr. Achepohl’s generosity in sharing a selection of his pots with the museum through gifts and loans, thus enabling us to display a small sampling of the arts of Africa with our visitors.
This installation was made possible by a JSMA Academic Support Grant, in collaboration with the African Studies Program.
Call and Response More Detail Search for all items
Call and Response brings together four recent acquisitions that invite viewers to consider our own role in artistic communication. The title is derived from a technique in music, where a melody sung by one person is echoed by another. The process is thus collaborative, and participants take turns as creator and audience. Call and Response was inspired by the JSMA’s recent acquisition of Ann Hamilton’s Signal (2010). Through her multi-media installations, Hamilton asks questions regarding place, identity, and the role of language, text, and voice in human communication and ways of knowing. About this work, Hamilton wrote, “If the call is the origin of speech, then the hand—raised to touch, or signal at a distance—is its silent counterpart.” Hamilton’s signaling hand is, thus, a silent marker of the artist’s act of creation as well as an acknowledgment of the visitor’s presence.
Other works on view engage the viewer through sound and sight. Nina Katchadourian’s Acca Dacca Diptych (2011) is part of a larger project, Seat Assignment, created during the artist’s travels by plane. Filming herself in the airplane lavatory using only a camera phone and materials available at hand, Katchadourian fashioned self-portraits that mimic the works of Netherlandish portraiture. Humorously, the portraits come to life as the artist begins to lip-synch to songs of rock band AC/DC. Peter Sarkisian’s Book 2 (2012) is a commentary on the loss of writing as a form of communication in contemporary society. It was commissioned to honor former UO President Richard Lariviere and includes the UO fight song and other additions unique to the piece. Ken Matsubara’s Eiffel Tower, Repetition Series (2014), which juxtaposes old photographs with modern technology, is a meditation on past and present, absence and presence. By acknowledging and engaging the viewer’s presence, all four works in Call and Response draw us as viewers into the act of creation.
Strike a Pose: Images of Dance from the JSMA's Collections More Detail Search for all items
Strike a Pose features images from the world of dance, drawn from the JSMA’s collection of photography. Representing photographers and dancers active in the United States in the 1940s, 50s, and 60s, the photographs capture a variety of styles of dance, including African, Indian, jazz, modern, and ballet.
These photographs were included in a 1963 exhibition of Dance in Art at the University of Oregon Museum of Art. The exhibition, which included objects from the museum’s permanent collection and loans, featured sculpture, painting, works on paper, and photography from around the world. Wallace Baldinger, the museum director at that time, later sought to add some of the photographs they had borrowed for the exhibition to the museum’s growing photography collection. These prints were acquired directly from the photographers themselves, either by gift or purchase (or, in the case of the photo Sujata Performing the Kunga Rasa Dance, by the dancer and her husband, who had lent a selection of photographs of various performances captured by different photographers).
The JSMA’s collection of photography now numbers over 1,400 works and continues to grow with gifts and purchases of work by nationally and internationally recognized photographers. Thematic explorations of the collection are periodically exhibited to demonstrate the depth and breadth of the collection and to make works available for study by faculty, students, and the general public.
Brett Weston in Oregon More Detail Search for all items
A recent gift of works from the Brett Weston Archive features images from the noted American photographer’s time in Oregon.
Rick Bartow: Things You Know But Cannot Explain More Detail Search for all items
The Jordan Schnitzer Museum of Art at the University of Oregon is organizing a major Rick Bartow exhibition. Co-curated by Jil Hartz, Executive Director and Danielle Knapp, McCosh Associate Curator, Rick Bartow: Things You Know But Cannot Explain will feature approximately 120 drawings, paintings, prints, mixed media, and sculpture, ranging from the 1970s to the present.
Images of Architecture More Detail Search for all items
Drawn entirely from the collections of the JSMA, this exhibition explores different modes of representing European architecture. From prints to drawings to photography, the works on view represent the ways in which artists have rendered three-dimensional space in two-dimensional form. This exhibition is organized in conjunction with ARH 607, “Representing Architecture,” a graduate-level class taught by Professor Maile Hutterer in the Department of the History of Art and Architecture.
Margo Grant Walsh More Detail Search for all items
Installation of selected objects from promised gift of Margo Grant Walsh
Placing Pierre Daura More Detail Search for all items
This exhibition features work of the Catalan-American artist Pierre Daura (1896- 1976) and explores his process of identity formation as interpreted through three major motivating forces: his devotion to family, his engagement with various artistic communities, and his transition from Spanish to American citizenship. The overarching theme of “place,” which connects these three themes can be understood not only as geographic location, but his psychological and emotional location throughout his life.
Daura mainly worked in landscape, portraiture and still-life though he also experimented with abstraction and sculpture. He spent his childhood in Barcelona before moving to Paris where he was a founding member of Cercle et Carré an influential group of avant-garde abstractionists which exhibited works of such greats as Joaquin Torres Garcia, Hans Arp, Wassily Kandinsky and Piet Mondrian. Pierre met and married a young American woman, Louise Heron Blaire before fighting in the Spanish Civil War as a Loyalist. After being injured in combat and losing his Spanish citizenship Pierre and Louise moved to rural Virginia with their young daughter, Martha. Daura’s search for “self” can be understood as a complicated and enduring process of personal inquiry, expressed through his art, to redefine his identity amidst the many evolutions of life.
Martha Daura generously gifted a large collection of her Pierre Daura’s works to the Jordan Schnitzer Museum of Art and the University Of Oregon School Of Law in 2004 as a part of her mission to proliferate her father’s legacy. It is this body of work, so generously gifted, that this exhibition seeks to introduce to the University and greater Oregon audience. Led by JSMA assistant curator Danielle Knapp and Art and Administration Professor Phaedra Livingstone this exhibition was curated by University of Oregon students in The History of Art and Architecture, Anthropology, Art and Administration and the Humanities Departments: Tracey Bell, Helen Blackmore, Lindsay Keast, Sarah Lester, Yi Liang, Carrie Morton, Jillian Norris, Beatrice Ogden, Maddy Phillips, Victoria Reis, Mattie Reynolds, Sarah Robison, Cody Russell, Lauren Szumita, Merrit Thompson, Emily Volkmann, Juiliana Wright-Kennedy, Sarah Wyer and Aryn Zanca.
The Human Touch: Selections from the RBC Wealth Management Art Collection More Detail Search for all items
This exhibition, drawn from the RBC Wealth Management Art Collection, features major works by international contemporary artists, all of which explore creative interpretations of the human figure. Ranging in scale and media, these whimsical, provocative, beautiful, and unusual pieces include works by Radcliffe Bailey, John Baldessari, Chuck Close, Lalla Essaydi, Roland Fischer, Dinh Q. Lê, Roy Lichtenstein, Hung Liu, Elizabeth Peyton, T.L. Solien, and Jaune Quick-to-See Smith. Created over the past twenty years, the RBC collection is regularly displayed at the firm's headquarters in Minneapolis; because of its continued growth, now numbering more than 400 pieces, selection of the collection are able to be shared with the public through the company’s touring program.
Whether a striking realistic portrait or a figural study of the human body, the works in the exhibition probe the depths of the individual psyche, while offering an intimate investigation of the human condition. Don McNeil, curator of the collection and exhibition, notes that RBC features the human figure in its art collection because it believes that the age-old need to understand the human condition is still vital and that the human form remains its most direct manifestation. “The earliest known drawings and sculptures depicted human and animal figures. These artistic expressions centered on matters most important to early man - success in the hunt and fertility. As society evolved, the human figure maintained its importance in artistic endeavors and is the major focal point in artistic expression to this day."
The Human Touch is made possible by RBC Wealth Management. Additional support for the exhibition is provided by the Coeta and Donald Barker Changing Exhibitions Endowment, The Harold and Arlene Schnitzer CARE Foundation, a grant from the Oregon Arts Commission and the National Endowment for the Arts, a federal agency, and JSMA members.
Included works by Radcliff Bailey, John Baldessari, Chuck Close, Lalla Essaydi, Roland Fischer, Dinh Q. Le, Roy Lichtenstein, Hung Liu, Elizabeth Peyton, T.L. Solien, and Jaune Quick-to-See Smith.
Artist’s Talk 04/26/2014 by T.L. Solien
“From serious to whimsical, realistic to abstract, the exhibition features 40 artworks devoted to creative interpretations of the human form.” – The Human Touch brochure
Contemporary Oregon Visions More Detail Search for all items
CONTEMPORARY OREGON VISIONS: JO HAMILTON AND IRENE HARDWICKE OLIVIERI
Ever since the 1960s, when Virginia Haseltine began donating works from her landmark collection of Pacific Northwest art to the University of Oregon’s art museum—with the goal of building cross-cultural dialogue with our founding Asian collections—the study, presentation, and support of 20th and 21st century Oregon artists has been central to our mission. Today, the JSMA has the largest collection of works on paper by Morris Graves, one of the most important artists of the Pacific Northwest. Haseltine’s gift encouraged many other collectors to donate work by such significant Northwest artists as Charles Heaney, Manuel Izquierdo, Carl and Hilda Morris, Henk Pander, Albert and Arthur Runquist, Amanda Snyder, and Mark Tobey. Furthermore, her passion for collecting contemporary craft, and ceramics, in particular, supported the careers of Betty Feves, Kenneth Shores, and Robert Sperry, and emboldened others to do the same. Following the museum’s major expansion in 2005, this new gallery was named in honor of Harold and Arlene Schnitzer in recognition of their long-standing philanthropic commitment to support artists in the region. More recently, thanks to two of The Ford Family Foundation’s grant programs, we created an Artist Project Space, which aims to feature the work of Oregon artists for six months each year, and acquired new work by such exciting Oregon artists as Whitney Nye, Judith Poxson Fawkes, and Susan Seubert.
Consequently, when the opportunity arose to feature work by Jo Hamilton and Irene Hardwicke Olivieri, we were thrilled. Hamilton’s ingenuity and success in transforming a traditional craft medium into fine art reflects today’s blurring of boundaries in high/low art as well as a very Portland-identified DIY ethos. Hardwicke Olivieri’s ability to translate her knowledge of and passion for the natural world into complex, idiosyncratic paintings and mosaics reflects a growing national interest in protecting the ecosystems of our state, country, and world. Their work captures people and places in uniquely beautiful and provocative ways. We are grateful to both artists for sharing their treasures and creativity with us.
Jill Hartz, Executive Director
June Black, Assistant Curator for the Arts of the Americas and Europe
Jessi DiTillio, Assistant Curator of Contemporary Art
Hunting Requires Optimism; Medusa Smack More Detail Search for all items
The refrigerator, that great beacon of fulfillment, represents an entirely different landscape. A symbol of promise and hope, this beloved appliance takes on a whole new meaning in Hunting Requires Optimism. Visitors yearning for that unidentifiable something are invited to open each of 10 refrigerators on display. Instead of finding a snack to satisfy a craving, however they discover a television monitors with 9 different video loops of wolves stalking, often not catching, and only once taking down and eating prey in snowy wilderness. The video presentation offers viewers an opportunity to ponder their place in the food chain and the predator/prey hierarchy, and to fully appreciate the refrigerator as a frozen tundra.
ASARO—Asamblea de Artistas Revolucionarios de Oaxaca More Detail Search for all items
Streets are the dwelling place of the collective. The collective is an eternally unquiet, eternally agitated being that—in the space between the building fronts—experiences, learns, understands, and invents as much as individuals do within the privacy of their own four walls.
Walter Benjamin, The Arcades Project
Every year in Oaxaca, Mexico, teachers gather for a plantón, or sit-in occupation of the city center, in the hopes of increasing both teacher salaries and school budgets, as well as securing better schools and learning conditions for children. Typically, these are resolved through mutual negotiations; however, in the summer of 2006, Governor Ulises Ruiz Ortiz deployed upwards of 1,000 police to break up the occupation. The police failed to remove the teachers and wounded and tear-gassed many uninvolved citizens who lived in the city center. In the days that followed, the teachers were joined by hundreds of civic and social organizations, unions, farm workers, indigenous groups, and students to form the Popular Assembly of the Peoples of Oaxaca or APPO (Asamblea Popular de los Pueblos de Oaxaca). The APPO and other organizations led a social movement, which prevented the government from functioning in the state capital for six months and organized new forms of governance, culture, media, and political participation. The movement was shut down when federal police occupied the city in November of 2006, but important parts of the movement live on—particularly as seen in cultural expression.
Shortly after the formation of APPO, art students began to congregate in the city center, making banners for teachers to use in their strikes and marches. In the fall of 2006, these artists formalized their efforts and became the Assembly of Revolutionary Artists of Oaxaca or ASARO (Asamblea de Artistas Revolucionarios de Oaxaca). Today, that same group of individuals—in addition to others who have since joined their ranks—continue producing political art. Where once their works were exclusively seen in the streets, they are now also available in a wide variety of venues, including galleries, museums, schools, and stores in Mexico, the United States, and Europe. Whether utilizing stencils or silkscreens, woodblocks or cans of spray paints, the members of ASARO call for a new social order with their provocative images.
While most printmakers sign each of their prints and produce only a limited run, the artists of ASARO print images as needed from the blocks they keep archived in their studio. They do not sign or edition their works, nor are individual artists credited; rather, they forgo personal recognition in the belief that the voice of the collective can affect social change.
The ten woodblock prints in this exhibition critique the violence of the state in the 2006 uprising, demand equal rights for disenfranchised groups like farm workers, indigenous peoples, and women, and expose the hypocrisy of the ruling elite. They are on view in support of Professor Lynn Stephen’s winter term anthropology course titled “Race, Gender and Political Economy in Latin America.”
Ave Maria: Symbolic and Narrative Icons from the Permanent Collection More Detail Search for all items
The Virgin Mary has been venerated in art and visual culture since the late Middle Ages throughout Christian Europe. This exhibit proposes to provide museum visitors with visual access to a variety of symbolic representations of Mary and iconic scenes from her life. These painted panels were collected from Western and Eastern Europe, specifically, the Netherlands, Italy, Russia, Yugoslavia, and Greece. The exhibit will include a total of sixteen panels: four from Western Europe and twelve from Eastern Europe. Of those twelve Eastern panels, three are narrative scenes from the life of the Virgin and nine present Mary in some of the numerous roles developed for her in the late Middle Ages. The paintings were selected in order to demonstrate the wealth of Marian imagery throughout Europe and the impact of Marian devotion on the continent as well as to demonstrate the differences and similarities between Eastern and Western Marian iconography.
Korda & the Revolutionary Image More Detail Search for all items
New American Acquisitions More Detail Search for all items
Features works acquired, through gift and purchase, over the last five years, since Lasting Legacies, reflecting a more expansive collecting mission and enhanced service to our on- and off-campus constituents. These include exciting works from the Americas—including Central and South America—and celebrate the museum’s commitment to building our already strong collection of work by Pacific Northwest artists and our more recent interest in collecting hemispherically.
Carl Morris: History of Religions More Detail Search for all items
An exhibit of Carl Morris' History of Religions murals.
Carl Morris was commissioned by the Oregon Centennial Exposition to create mural-size paintings celebrating the state’s religious histories. In eight weeks, he painted nine murals, arguably his most accomplished paintings. The murals were acquired by the JSMA shortly after the 1959 Centennial celebrations and have been exhibited only once, in 2007, since their inaugural exhibition in 1959.
Neville Selection More Detail Search for all items
Mackinnon- North rotation 2012 More Detail Search for all items
The Female Figure: Artistic Multiplicities More Detail Search for all items
Organized by art history graduate student Anne Taylor, exhibition coordinator extern Jessi DiTillio, and former curator Lawrence Fong, The Female Figure: Artistic Multiplicities draws from works in the collection, supplemented with special loans which present women as complex, nuanced individuals, as well as potent vehicles for symbolic meaning.
Traditional & Contemporary Korean Art from the JSMA & Mattielli Collections More Detail Search for all items
reinstallation of gallery.
Through Her Lens: Interpreting Gertrude Bass Warner’s Asia More Detail Search for all items
Gertrude Bass Warner collections. Exhibited simultaneous with Vision of the Orient Exh.
Visions of the Orient: Western Women Artists in Asia, 1900-1940 More Detail Search for all items
"Visions of the Orient: Western Women Artists in Asia, 1900-1940" explores the fascination of female western artists with Asian culture between 1900 through 1940. This exhibition focuses on the work of four artists: Helen Hyde (1868-1919), Bertha Lum (1869-1954), Elizabeth Keith (1887-1956), and Lilian Miller (1895-1942), all of whom trained initially as painters but, while living in Japan, also designed woodblock prints.
Russel Wong: The Big Picture More Detail Search for all items
Celebrity photography by Russel Wong
Shining Splendor/Resplandor de Roca: photographs by David Maawad More Detail Search for all items
Maude Kerns Exhibition More Detail Search for all items
Maude Kerns Exhibition to coincide with corresponding visions of the orient exhibition
Enduring Bonds: Recent Japanese Acquisitions in Memory of Yoko McClain (1924-2011) More Detail Search for all items
In memory of Yoko McClain
Faculty Selections More Detail Search for all items
Art Department Faculty Selections from the Collection
Birds and Flowers More Detail Search for all items
Putting Artists to Work: The Legacy of the WPA More Detail Search for all items
Student Samantha Hull curated in-house exhibition.
Diaspora, Identity, and Race: Cuba Today More Detail Search for all items
Icon Rotation: Winter 2012 More Detail Search for all items
Saints in the Eastern Orthodox Church
The title of “saint” is bestowed on someone formally recognized by the church as particularly holy or virtuous. The process by which a person becomes a saint is called canonization. Historically, those who received sainthood fell into two categories: martyrs and confessors. Martyrs died for their faith, usually due to self-sacrifice or execution, whereas confessors (or “living martyrs”) were persecuted and often tortured for their faith, but were not killed. The process by which icons are created is called “writing.” Saints are often represented with identifying attributes that indicate their special interests or the way in which they were martyred. They have traditionally been seen an intercessors, who can be asked to pray on one’s behalf, so icons that feature images of saints were often selected for very personal reasons. The study of saints’ lives, or hagiography, has been a popular genre of religious writing since the second century, when the stories of notable martyrs were first recorded.
History of Photography Fall 2011 More Detail Search for all items
ARH 359 History of Photography: First paper assignment
The Making of David McCosh More Detail Search for all items
I Dream a World: Portraits of Black Women Who Changed America More Detail Search for all items
A selection of 29 photograph's from Brian Lanker's exhibition "I Dream a World: Portraits of Black Women Who Changed America".
Selections from Brian Lanker’s “I Dream a World: Portraits of Black Women Who Changed America” More Detail Search for all items
Selections from Brian Lanker’s “I Dream a World: Portraits of Black Women Who Changed America” returns to the Jordan Schnitzer Museum of Art
EUGENE, Ore. -- (June 7, 2011) -- The Jordan Schnitzer Museum of Arts presents selections from Brian Lanker’s “I Dream a World: Portraits of Black Women Who Changed America,” on view from June 21 – September 11, 2011 in the Focus Gallery.
Lanker passed away in March 2011, soon after being diagnosed with pancreatic cancer. The JSMA honors the life of the Pulitzer Prize-winning photographer by showcasing photographs from the exhibition that originally debuted in Washington, D.C., in 1988 and showed at the UO Museum of Art in 1991.
Twenty-eight portraits are featured in the exhibition representing women from the fields of entertainment, literature, sports, and politics and the civil rights movement, including Rosa Parks, Toni Morrison, Coretta Scott King, Ruby Dee, Maya Angelou, Septima Poinsette Clark, and Althea Gibson. The book and original exhibition focused on the lives of 75 women.
Brian Lanker had long felt that the contributions of black women to society and history were unnoticed. Influenced by Barbara Jordan’s riveting speech at the 1976 Democratic National Convention and Alice Walker’s life, after reading her book “The Color Purple,” Lanker began a two-year-long project to document and honor these and other special black women.
"I really did it more for history,” Lanker once said, “and thought it was important to have a book like this around 50 or 75 years from now so that people could look back and understand whose shoulders they were standing on.”
Using his personal knowledge and with access to “LIFE” magazine’s extensive archive, additional research at the Schomberg Center in Harlem, New York, and help from The National Coalition of 100 Black Women, Lanker selected the 75 women to photograph and interview.
Marie Antoinette's Head and Others More Detail Search for all items
Giuseppe Vasi's Rome: Lasting Impressions from the Age of the Grand Tour More Detail Search for all items
One of 18th century Rome’s most One of 18th century Rome’s most prolific printmakers, Giuseppe Vasi documented the city of Rome, its daily life, culture, and architecture more richly and completely than any other artist of his time. In celebration of the 300th anniversary (2010) of Vasi’s birth, this project combines ground-breaking developments in graphic imaging technology with new research on how the 18th century Roman observed and documented his own city. Vasi’s vision, talent, cultural connections, and profound impact on the history of art and printmaking are crucial to our understanding of the importance of arts and architecture in creating, preserving and understanding civilization. This first international appraisal of Vasi’s oeuvre leverages the intersections between scholarly research, technology, exhibition, and public education. prolific printmakers, Giuseppe Vasi documented the city of Rome, its daily life, culture, and architecture more richly and completely than any other artist of his time. In celebration of the 300th anniversary (2010) of Vasi’s birth, this project combines ground-breaking developments in graphic imaging technology with new research on how the 18th century Roman observed and documented his own city. Vasi’s vision, talent, cultural connections, and profound impact on the history of art and printmaking are crucial to our understanding of the importance of arts and architecture in creating, preserving and understanding civilization. This first international appraisal of Vasi’s oeuvre leverages the intersections between scholarly research, technology, exhibition, and public education. One of 18th century Rome’s most prolific printmakers, Giuseppe Vasi documented the city of Rome, its daily life, culture, and architecture more richly and completely than any other artist of his time. In celebration of the 300th anniversary (2010) of Vasi’s birth, this project combines ground-breaking developments in graphic imaging technology with new research on how the 18th century Roman observed and documented his own city. Vasi’s vision, talent, cultural connections, and profound impact on the history of art and printmaking are crucial to our understanding of the importance of arts and architecture in creating, preserving and understanding civilization. This first international appraisal of Vasi’s oeuvre leverages the intersections between scholarly research, technology, exhibition, and public education.
Excessive-Obsession More Detail Search for all items
Works from the Jordan Schnitzer, Dorothy Lemelson, and JSMA permanent collections.
Faster Than a Speeding Bullet: The Art of the Superhero More Detail Search for all items
A Gaze of Her Own: Women as Prominent Figures in Japan More Detail Search for all items
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 was compilied.
Through thier writing, Japanese women have shown women's points of view and demonstrated a Female Gaze. Writings by over 100 women of the Heian period are known today; the best, like the Pillow Book by Sei Shonagon and the Tale of Genji by Murasaki Shikibu, illustrated here in works of both the Tosa and Ukiyo-e schools, are still read and continue to influence painting, gardens, and film.
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 prominance 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.
Through the Lens: John Piper More Detail Search for all items
Buddhist Visions: Visual Culture and the Middle Way More Detail Search for all items
Temples in the Snow More Detail Search for all items
20th Century Traditions: Photography in the American West More Detail Search for all items
Edward Weston and Contemporaries
Carl Morris: History of Religion More Detail Search for all items
An exhibit of Carl Morris' History of Religions murals and works that stylistically and thematically led to these murals.
Clay Forms: Modern Northwest Ceramics More Detail Search for all items
From the Fire: Contemporary Korean Ceramics More Detail Search for all items
A survey of contemporary Korean ceramics by Cho, Chung Hyun. Assembled are 54 Korean artists whose 108 pieces incorporate traditional techniques with innovative methods to create both functional and sculptural works.
A Way with Words: The Calligraphic Art of Jung Do-jun More Detail Search for all items
The work of the contemporary Korean master callipgrapher Jung Do-jun.
Elizabeth Keith's Korea More Detail Search for all items
Bridgescapes More Detail Search for all items
Thirty Northwest Craftsmen More Detail Search for all items
illustrated catalog published.
Included coppery works by Anne McCosh
"An exhibition of pots, metalware, textiles, and other objects purchased for the permanent collection of the University of Oregon out of an invitational feature showing at the Museum of Art in 1964: THIRTY NORTHWEST CRAFTSMEN (illustrated catalogue available; price, $1). The original group of crafts objects was returned to the Museum of Art in the summer of 1966 after a two-year tour of the museums of the United States under auspices of the Western Association of Art Museums. The show can now be booked as one of the offerings under the Statewide Services program of the Friends of the Museum. None of the objects are for sale, but similar objects can be purchased directly from the craftsmen making them. 30 items, pottery, metalwork, weaving, woodwork, jewelry" [Statewide Services Prospectus 1968-1969 publication, eed]
A University Collects: Oregon Pacific Northwest Heritage More Detail Search for all items
..The resulting body of acquisitions has assumed diversity comparable at first glance, at least, with the diversity of all contemporary art. Such diversity is certainly apparent in the group of thirty five paintings comprising the present exhibition. About the land producing the paintings there is, nevertheless, such a clearcut unity of form and character that it would be surprising if some corresponding unity could not be detected in them. All of the paintings come, as a matter of fact, from a strip of territory far more sharply circumscribed than that vast expanse commonly called the Pacific Northwest which stretches all the way from Alaska to the San Francisco Bay Region and includes not only British Columbia, Washington, Oregon, and northern California but Montana and Idaho as well.
Morris Graves: A Retrospective More Detail Search for all items
The assemblage of paintings by Morris Graves here presented, numbering more than one hundred, covers the whole span of the artist's production. It bears witness to the immediate contemporaneity of his development. It attests to the magnitude of his debt to the landscape of the region in which he has worked the greater part of his life. It does much more besides. The exhibition brings out as no other ever held in our galleries a depth of religious thought and feeling the probing of which has been thought impossible to an artist of our so-called "godless" generation. We are accustomed to think of great religious art as belonging only to the past. In the presence of the pictures here displayed, we must now revise our notion; for at his best in them Morris Graves ranks with the truly great artists inspired by any world religion.
Piranesi: Views of Rome and Other Etchings More Detail Search for all items
A loan exhibition organized, installed, and catalogued by members of the course in museum techniques, AAA, UO..."together with architectural models of Renaissance and ancient Roman monuments"; some objects loaned from Portland Art Museum and the School of Architecture and Allied Arts at the University of Oregon
Dante in Art More Detail Search for all items
catalogue of an exhibition sponsored by The Friends of the Museum, Museum of Art, University of Oregon, Eugene, Oregon
The World of Dante, Festival of the Arts - University of Oregon - 1965
Great men have a way of costing shadows across the span of history, shadows which come inevitably to affect its course. Such was the case with Virgil 170-19 B.C.), notional poet of the Roman Empire. Such was even more the case with that notional poet of proto-Renaissance Italy who chose Virgil for personal guide and mentor: Dante Alighieri (1265-1321 A.D.). Paradoxical though it may seem, the rooting of both poets in a particular time and place nurtured such poignant expression of deeply felt experience in sensuous and rhythmically ordered form that their works hove won universality both in significance and in artistic appeal: Virgil with his "Eclogues", his "Georgics", his "Aeneid"; and Dante with his "Vita Nuovo", his "Convivio", his "Divino Commedia" above all in its three canticles, the "Inferno", the "Purgatorio", the "Paradiso", and its hundred cantos...
The Heritage of Edward Weston: Photographs More Detail Search for all items
Features work by Edward Weston and work by other artists who were influenced by him
Thirty Northwest Craftsmen More Detail Search for all items
Pacific Northwest Art: The Haseltine Collection More Detail Search for all items
First public showing of a collection of paintings, sculptures, and other works created by artists of the Pacific Northwest. Currently being assembled by Mrs. William A. Haseltine and placed on permanent loan in the Museum of Art of the University of Oregon; ultimately to become one of the museum's permanent collections.
The Dance in Art More Detail Search for all items
Twenty Northwest Architects and Associated Designers More Detail Search for all items
Catalogue published and recorded in Mimsy. Catalogue Edited by Wallace S. Baldinger, Director, and designed by Joseph M. Stuart, Curator. The exhibition featured 20 architects from Seattle, Tacoma, Portland, Eugene, and Spokane. From Seattle: Fred Bassetti; Kirk, Wallace, McKinley & Associates; John Moore Morse; Paul Thiry. From Tacoma: Liddle & Jones; Robert Billsbrough Price. From Portland: Van Evera Bailey; Donald Blair; Lewis Crutcher; William L. Fletcher; Skidmore, Owings & Merrill; Stewart & Richardson; John Storrs; Warren Weber; Wolff & Zimmer; Saul Zaik. From Eugene: Stafford, Morin & Longwood; Wilmsen, Endicott & Unthank. From Spokane: McClure & Adkison; Walker & McGough. Also, Medford designer Robert Bosworth's design of the Oregon Pavilion at the Seattle World's Fair. [charlotte, 2016]
Recent Acquisitions for the Museum's Collections: Gifts and Purchases 1960-1962 More Detail Search for all items
Covering three years of gifts and purchases. Friends of the Museum exhibition
Eighteen Pastel Portraits of Famous Authors by Leonebel Jacobs More Detail Search for all items
Portrait painter of New York and one-time student of the University of Oregon; Collection a Gift of the New York Alumni Group, Friends of the Museum
Ten Northwest Sculptors: Invitational More Detail Search for all items
An invitational exhibition assembled and organized by the Museum of Art. Invitations sent to a carefully selected list of sculptors identified by birth, rearing, or time of residence with Oregon, Washington, or British Columbia. To include no more than three works from each sculptor, with additional drawings where possible...In the light of this heritage, which the University of Oregon shares to a peculiarly important degree, it is appropriate that the second Friends of the Museum exhibition featuring the arts of the Pacific Northwest should present the art of sculpture (the first exhibition, January 24-February 26, 1961, presented painting). Because of practical limitations, the present show could not be as comprehensive as the first. The number of sculptors invited to participate was arbitrarily reduced to ten. Each artist was restricted to three of his more recent works, although he could include if he wished drawings or sketches produced while evolving the final form of one or another of these works. He was chosen for invitation because of his long residence in a region which geographers define as "the Puget Sound-Cowlitz-Willamette Trough"- the western portions of two states, Washington and Oregon, and one province, British Columbia. He was also chosen for the significance of his artistic achievement- in a regional, an international, or a uniquely personal realm. Many sculptors well qualified on either count had to be omitted...
Japanese Calligraphy More Detail Search for all items
"Planned and assembed in Japan by Sokyu Uedo and Gaboku Ogawa of Tokyo, Officers of Keisei-kai, National Society of Artist Calligraphers in Japan. Circulated in the United States by the Western Association of Art Museums. Catalogue Notes edited by Wallace S. Baldinger, Director, and Yoko Matsuoka McClain, Secretary, Museum of Art, University of Oregon"
Oils by Jack McLarty; Metalwork by Max Nixon: Oregon Centennial Festival of Arts 1959 More Detail Search for all items
Two Painters, A Potter, and A Metalsmith: Oregon Centennial Festival of Arts 1959 More Detail Search for all items
Oregon Centennial Festival of Art: Watercolors by Willard Martin, Pottery by Robert James, Oils by Jack McLarty, Metalwork by Max Nixon
Paintings and Calligraphy by Chao-Ling Fang More Detail Search for all items
...Madame Fang is a native of Wu-hsi in Kiangsu, a province rich in artistic history. Her first exhibition was held when she was 14 years old. Since that time her work has been shown in London, Paris, Lausanne, Oxford, Leeds, Manchester, Tokyo, Hong Kong, Singapore, Penang, Montreal, Boston, and New York. She has given demonstrations of painting and calligraphy at the Universities of Oxford, Leeds, Hong Kong, Cambridge, Munich, Marburg, and Boston. Chao-Ling Fang is the mother of eight children, the eldest of whom is now a student at the University of Oregon. Although her home is in Hong Kong, the artist is currently engaged in post-graduate research at the Lady Margaret Hall, Oxford University. Madame Fang is a calligrapher as well as a painter of landscapes, birds, and flowers. She offers in this combination of arts a phenomenon rare in the Occident but common in Chinese history, because in the Middle Kingdom painting and calligraphy are so closely related as to be considered sister arts. As Han Su-yin, well-known writer, has remarked, Chao-Ling Fang is a kind of person "only too rare in this world - a complete artist."
David J McCosh: Oil, Watercolor, & Gouache Paintings More Detail Search for all items
Part of the "Two Painters and a Sculptor: Jorge Elliott, Tom Hardy, and David McCosh" exhibition for Art in Progress Festival of Arts 1958
Japanese Gardens More Detail Search for all items
Exhibition designed by Mirei Shigemori, notable Japanese lanscape architect
Photographs of Japanese gardens by Osamu Hayakawa
Models of Ryuanji Garden and Kishiwada Castle and Hachijin Garden by Shyuji Suezawa
Under Dr. Wallace S. Baldinger, Director, Museum of Art
Contemporary Japanese Oil Paintings And Sculptures By Members of Kodo Bijutsu Kyokai More Detail Search for all items
Catalogue published in three parts: A, B, and C.
Catalogue of an Exhibition from Japan, 1957, University of Oregon, Eugene
Contemporary Japanese Oil Paintings by Members of the Kodo Bijutsu Kyokai (Action Art Society). Assembled in Japan by a Committee of Members of the Kodo Bijutsu Kyokai: Tadao Tanaka, Waichi Tsudaka, Kenzo Idani, Kakuzo Tatehata, and Shinjo Saito. Circulated by the Western Association of Art Museum Directors. Prepared and Cataloged by staff at the Univerity of Oregon Museum. Wallace S Baldinger, Director; James F. Colley, Curator; Jean M. Woods, Cataloguer.
Group A: Introduction by Jean M. Woods followed by the catalogue list of paintings, A1-A37. 10 pages.
Group B: Introduction by Jean M. Woods followed by the catalogue list of paintings, B1-B32, and sculptures, BS1-BS5. 11 pages.
Group C: Introduction by Jean M. Woods followed by the catalogue list of paintings, C1-C27, and sculptures, CS1-CS7. 10 pages.
Japanese Ink-Painting and Calligraphy:1400-1957 A.D. More Detail Search for all items
Featured in the East Meets West 1957 Festival of the Arts program
Exhibition was planned and assembled in Japan by Takao Makado, director of Geirinso, Kyoto, and Sokyu Ueda and Gaboku Ogawa of Tokyo, Officers of Keisei-kai, National Society of Artist Calligraphers of Japan. Personal Assistance Rendered in Japan by Donald S. Willis, Assistant Professor of Chinese and Japanese languages, University of Oregon, and Tasuo George Fujinaka, Landscaper of Portland, Oregon. Circulated in the United States by the Western Association of Art Museum Directors. Catalog edited by Wallace S. Baldinger, Director, Museum of Art, University of Oregon.
The exhibit was in two parts: 14 works in a “Historical Survey of Ink-Painting and Calligraphy in Japan: 1400-1900 AD followed by 26 “Works of Calligraphy By Contemporary Japanese Masters From Keisei-kai, Tokyo. The catalog has an interpretive paragraph for each work in the first part, and a short description by each artist in the second part. All the pieces were loaned by private collectors from Kyoto and Tokyo.
Art for the Children's Festivals of Japan: Selected from the Murray Warner Collection of Oriental Art More Detail Search for all items
An Exhibition Initiated and Designed by Senior Art Education Students School of Architecture and Allied Arts, University of Oregon Under Thomas O. Ballinger, Instructor in Consultation with the Museum Staff; Exhibition Cases Designed Especially for the Exhibition by Ivan L. Collins, Furniture Designer Physical Plant; Exhibition Installed by the Museum Staff; A Catalogue Compiled by Wallace S. Baldinger, Director
Cambodian Sculptures Selected From The Murray Warner Collection of Oriental Art More Detail Search for all items
When Gertrude Bass (Mrs. Murray) Warner, Donor of the Murray Warner Collection of Oriental Art and first Director of the University's Museum, visited Cambodia in 1924, she won the assistance of adminintrators of the Musee Albert Sarraut at Phnom-Penh in purchasing Cambodian sculptures for the Warner Collection. She had them select for her purchase, under personal supervision of George Groslier, Director of Cambodian Arts, original works representing successive eras in Khmer history and plaster casts made from reliefs in Angkor Wat and the Bayon at Angkor Thorn. She sought further to buy examples of pre-Khmer sculpture but failed because of the rarety of such works.
A Group of Four Japanese Buddhist Sculptures: Selected from the Murray Warner Collection of Oriental Art More Detail Search for all items
Masterpieces of the Month: III and IV; Featured in Honor of the Buddha's Birthday, April 8 (Siddhartha of Kapilavastu: 563-483 B.C.)
The Arts of Chinese Burial: Feature Exhibition of Bronzes and Tomb Statuettes Selected from the Murray Warner Collection of Oriental Art More Detail Search for all items
a selection of tomb statuettes and bronzes
Vaults of Heaven: Visions of Byzantium More Detail Search for all items
Penn Museum website, 10-25-12:
"Ahmet Ertug's photographs document the interiors of three churches - the Karankik Kilise (Dark Church), the New Church of Tokali (Buckle Church), and the Meryem Ana Kilisesi (Church of the Mother of God) - all more 1,000 years old and all UNESCO World Heritage Sites. The photographs include close-up views of elaborate wall paintings depicting classic Christian scenes from the life of Christ and images of saints. Also included are images revealing the dramatic interior architecture of these churches, places that have inspired, and continue to inspire generations of worshippers and admirers."