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FALL 2016 JORDAN SCHNITZER MUSEUM of ART Robert Rauschenberg (American, 1925– SCRIMMAGE: 2008)

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FALL 2016 JORDAN SCHNITZER MUSEUM of ART Robert Rauschenberg (American, 1925– SCRIMMAGE: 2008) FALL 2016 JORDAN SCHNITZER MUSEUM OF ART Robert Rauschenberg (American, 1925– SCRIMMAGE: 2008). Junction, 1963. Oil and silkscreen on canvas and metal, 45 1/2 x 61 1/2 inches. Football in American Art from the Civil War to the Present Collection of Christopher Rauschenberg. Art © Robert Rauschenberg Foundation/ Licensed by VAGA, New York, NY. Barker Gallery | Through December 31 What do Winslow Homer, George Bellows, at the youth and high school levels) in which the Laura Gilpin, John Steuart Curry, Andy Warhol, artist, serving as the “matador,” is surrounded by Wayne Thiebaud, Catherine Opie, and Diego a revolving circle of semi-pro players who charge Romero all have in common? They, and nearly without warning from all sides. Leonardo experienced fifty other artists whose works are on view in this the drill as a football player at Bowdoin College in the special exhibition, have depicted football and the late 1990s, and in a 2008 interview at his alma mater he explained that “my intention is to perform an public culture surrounding the sport. Scrimmage— Curator’s Gallery Tour Native American Studies, in issues of brain trauma, he organized by Linny Frickman, director of the Gregory aesthetically scripted yet actual Bull in the Ring with Wednesday, September 14, Native American Student turned his attention to the Allicar Museum of Art at Colorado State University, an undetermined outcome [where] I, as the center 5:30 p.m. Union, and Native American history of images and how and Danielle Knapp, McCosh Associate Curator at participant, will either affirm my virility or fail; in Danielle Knapp, McCosh Law Student Association. they give us insights into Associate Curator these important issues. the JSMA—presents the work of prominent American essence, demonstrating a very intense depiction of Gendered Games: artists who explore what images of football reveal my experience with the vulnerabilities of projecting Patron Circle Reception Reflections on Masculini- In Football We Trust about American life. Thematic groupings of works masculinity.” Thursday, September 29, ty, Art, and Football Thursday, November 3, 5:30–7:30 p.m. Saturday, October 22, 2 p.m. 4 p.m. address such topics as athleticism, violence, celebrity A series of public programs will address these Lecture by Linny Frickman, Harrington Auditorium, The culture and the media, and issues of class, gender, timely topics in greater depth. We invite our visitors Members/Public John E. Jaqua Academic Reception Director of the Gregory race, and ethnicity. The exhibition showcases a to engage in a dialogue—with works of important Allicar Museum of Art at Center for Student Athletes Friday, September 30, wide variety of media, from an early oil painting American artists as a springboard—about sports, art, Colorado State University Film screening and discussion Members: 5–6 p.m. with Chris Young, Academic by Frederic Remington to a video installation by and their roles in our history and culture. Following Public: 6–8 p.m. and co-curator of the exhibition Advisor and former Ducks contemporary photographer William Wylie. its presentation at the JSMA, Scrimmage will travel to Football player Native American Mascots Frickman examines how The exhibition also asks how football, which began the Figge Art Museum in Davenport, IA, and to the in Sports—Challenging the gendered nature of Artist’s Lecture by William as a private extracurricular activity for a small group Canton Museum of Art, in Canton, OH. the Persistence and Rein- sport, specifically football— Wylie: Site as Archive forcement of Stereotypes of young white men at Ivy League colleges, became Scrimmage: Football in American Art from as well as gendered Thursday, November 17, Monday, October 10, perceptions about art, 6 p.m. the public spectacle and mass-cultural, multi-ethnic, the Civil War to the Present is supported by RBC 4:30 p.m. artists, and culture—interact Lawrence Hall, Room 117 and multi-racial phenomenon we know today. The Wealth Management; the Coeta and Donald Barker Reception, 3–4 p.m. and are reflected in the Co-sponsored by UO Many Nations Longhouse rise of football as an American sport is directly Changing Exhibitions Endowment; the Oregon exhibition. Department of Art Visiting tied to media coverage, beginning with the work of Arts Commission and the National Endowment for Panel discussion about the Artist Lecture Series appropriation and misuse of Gladiators: Reading the Wylie, whose single channel major American artists who were commissioned the Arts, a federal agency; the University of Oregon Native American names and Concussion Crisis and video work Prairie is on view Office of Advancement; the FUNd Endowment mascots in sports with guest to document it for the popular press. Prints by Football’s Future through in the exhibition, speaks speakers Jacqueline Keeler Bellows, Homer, Remington, and Norman Rockwell at Colorado State University; the Lilla B. Morgan the Visual Arts on his artistic practice and (Navajo, Yankton Dakota), Memorial Fund; City of Fort Collins Fort Fund and Wednesday, October 26, current body of work. were published and widely distributed to American founder of Eradicating 5:30 p.m. audiences. On view are major periodicals from Cultural Resources Board; and JSMA members. Offensive Native Mascotry, From the Stadium to the the late nineteenth and early twentieth centuries, The accompanying catalog, made possible by the and Se-ah-dom Edmo Lecture by Dr. Michael Street: Documentary Oriard, Distinguished Profes- including Harper’s Weekly, Collier’s, and The Saturday Elizabeth Firestone Graham Foundation and the (Shoshone Bannock, Nez Photography in the 1970s Perce, Yakama), from the sor of American Literature Wednesday, November 30, Evening Post, that demonstrate how the sport of Harold and Arlene Schnitzer CARE Foundation, Indigenous Ways of Knowing and Culture (Emeritus), 5:30p.m. football became a household topic among American features essays by curators Frickman and Knapp Program, Lewis and Clark Oregon State University Thom Sempere, executive families decades before its debut on television. and contributing writers Dr. Albert Bimper and Dr. College; moderated by Jason Oriard walked on as a de- director of PhotoAlliance in Younker, Assistant Vice Current discussions about long-term football Robert Gudmestad from Colorado State University fensive end at the University San Francisco, discusses the President and Advisor to the of Notre Dame and earned influences and contributions injuries and the concussion crisis suggest that health and Dr. Michael Oriard from Oregon State University. President on Sovereignty a spot as a starting center. of documentary and street Top: Ernie Barnes (American, 1938–2009). Fumble in the Line, 1990. Acrylic on canvas, 48 x 60 in. concerns are new. Yet, as these works attest, health Artist biographies were researched and written by and Government-to- He left Notre Dame with a photographers in the 1970s, © Ernie Barnes Family Trust risks were depicted by artists early in the sport’s three recent M.A. History of Art and Architecture Government Relations. graduate fellowship to study including Tod Papageorge, Frederic Remington (American, 1861–1909). Touchdown, Yale vs. Princeton, Thanksgiving Day, Nov. Made possible with support literature as well as a position Geoff Winningham, and Gary history. Contemporary artist Shaun Leonardo’s graduates: Lindsay M. Keast ’14, Stephanie Dunn ’15, from the Museum of Natural 27, 1890, Yale 32, Princeton 0, 1890. Oil on canvas, 22 x 32 9/16 in. Yale University Art Gallery, Whitney with the Kansas City Chiefs. Winogrand, whose sports performance of Bull in the Ring (single channel and Christie Hajela ’15. and Cultural History in Collections of Sporting Art, given in memory of Harry Payne Whitney (B.A. 1894) and Payne Whitney After receiving his Ph.D. from photographs are on view in partnership with the Many the exhibition. (B.A. 1898) by Francis P. Garvan (B.A. 1897); M.A. (Hon) 1922. video, 2008) recreates a practice drill (now banned Stanford, Oriard joined the Nations Longhouse, UO [ 2 ] OSU faculty. Long interested [ 3 ] FROM THE DIRECTOR Between the World and Me African American Artists Respond to Ta-Nehisi Coates Focus Gallery | September 3, 2016 – March 5, 2017 This academic year, the University of Oregon has asked freshmen to participate What does it mean in the “Common Reading” of Ta-Nehisi Coates’s book Between the World and to be American? Me. The timeliness of Coates’s subject That question, of course, goes to matter and the power and poignancy of his our core values and our country’s writing inspired the JSMA to organize a place in the world. Today, in this companion exhibition—a “Common Seeing.” election season, the answers are Both explore what it means to be Black in contested daily. Our personal AMERICAN IDENTITY EVENTS the United States. The autobiographical responses usually align with our nature of Coates’s book parallels the visual experiences and backgrounds, SCRIMMAGE narratives created by contemporary Post- our ethics instilled by family, schools, friends, and Panel: Native American Mascots in Sports—Challenging the Black artists featured in the exhibition: Persistence and Reinforcement of Stereotypes Marc Bradford, Theaster Gates, Mildred communities of which we are a part. Monday, October 10, 4:30 p.m. | Many Nations Longhouse Ta-Nehisi Coates, in his book Between the Howard, Chris Johnson, Rashid Johnson, Gendered Games: Reflections on Masculinity, Art, and Football Glenn Ligon, Hank Willis Thomas, Kara World and Me, argues that the American Dream is Lecture by Linny Frickman | Saturday, October 22, 2 p.m. anything but a positive, aspirational goal. He makes Walker,and Kehinde Wiley (on view outside Glenn Ligon (b. 1960). Self Portrait at Eleven Years Old, 7/20, 2004. Gladiators: Reading the Concussion Crisis and Football’s Future a compelling case for its contribution to institutional our APS Gallery). In addition, Between the Cotton base sheet with stenciled pulp painting, 30 x 30 in.
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