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JORDAN SCHNITZER MUSEUM of ART Patron Circle Opening Under Pressure Reception Thursday, January 22, 5:30–7:30 P.M

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JORDAN SCHNITZER MUSEUM of ART Patron Circle Opening Under Pressure Reception Thursday, January 22, 5:30–7:30 P.M WINTER 2015 JORDAN SCHNITZER MUSEUM OF ART Patron Circle Opening UNDER PRESSURE Reception Thursday, January 22, 5:30–7:30 p.m. Contemporary Prints from the Collections of Barker Gallery Exhibition Opening Jordan D. Schnitzer and his Family Foundation January 24–March 29, 2015 Reception Friday, January 23, JSMA members 5–6 p.m.; This special exhibition traces printmaking’s rise to Featured artists include: public 6–8 p.m. prominence in postwar American art. Informed by the Radcliffe Bailey central question “why printmaking?, ” Under Pressure John Baldessari Under Pressure: Exhibition Tour with Jordan Schnitzer Jennifer Bartlett reveals the diverse ways artists have adopted, embraced, Saturday, January 24, 11 a.m. Robert Bechtle and transformed this versatile medium over the last Jordan Schnitzer will speak five decades. Mark Bennett about his passion for collecting Until the 1940s, most American artists viewed Vija Celmins modern and contemporary prints. prints as a lesser medium, practiced by those who were Enrique Chagoya concerned solely with the technical aspect of mak- Chuck Close Studio Workshop: ing art rather than with the importance of creative Richard Diebenkorn Introduction to Printmaking Richard Estes Sunday, February 22, 1–4 p.m. expression. Yet, over the course of the 1950s and 1960s, Joe Feddersen Cost: $25 ($22.50 for JSMA bolstered by the adventurous spirit of experimentation members) Eric Fischl championed by such artists as Jasper Johns, Helen Instructor: Mika Boyd Helen Frankenthaler Ages: Teens to adults Frankenthaler, and Robert Rauschenberg, printmak- Ellen Gallagher Have you ever wondered ing became one of the most dynamic fields in contem- Red Grooms how these beautiful prints porary art. During the 1950s and 1960s, independent are created? Learn how to Damien Hirst create your own prints in print workshops, such as ULAE (United Limited Art Robert Indiana this introductory workshop Editions) on Long Island and Gemini G.E.L. (Graphic Jasper Johns inspired by the Under Pressure exhibition. Editions Limited) in Los Angeles, opened their doors. Donald Judd Staffed with highly skilled technicians, these studios Alex Katz supplied artists with the equipment, space, and exper- Barbara Kruger tise they needed to push the limits of printmaking. Sol LeWitt Welcoming the opportunity to expand their practices, Roy Lichtenstein artists transformed print workshops into laboratories Hung Liu where media and techniques intertwined, and a new Brice Marden visual language emerged. Kerry James Marshall Under Pressure considers major currents in con- Sarah Morris temporary art, among them Abstract Expressionism, Judy Pfaff Minimalism, Photorealism, and Pop Art. It explores Martin Puryear innovations specific to printmaking, including recent Robert Rauschenberg advancements in technology that have reinvigorated Edward Ruscha the print’s role in art production. The works on view Richard Serra address diverse themes, from feminism and civil Roger Shimomura rights to the use of art as social critique. Lorna Simpson Kiki Smith Above: Kiki Smith (American, born Germany 1954). Sitting with a Snake, 2007. Published by Pace The selection of work in Under Pressure comes Artist’s Talk: Hung Liu Donald Sultan Editions, Inc., New York, NY; edition 12/18. Digital acid-based inkjet dyes on silk charmeuse, 69 1/2 from the extensive holdings of collector and Saturday, March 7, 2 p.m. Fred Tomaselli x 48 1/2 in. Collection of Jordan D. Schnitzer, © Kiki Smith, courtesy Pace Gallery University of Oregon alumnus Jordan Schnitzer Chinese-born artist Hung Liu, Kara Walker Opposite, top center: Roy Lichtenstein (American, 1923–97). Bull Profile Series, 1973. Published and was organized by the Joslyn Art Museum in professor emerita of painting by Gemini G.E.L., Los Angeles, CA: Bull II, lithograph and linecut; Bull III, lithograph, screenprint, Terry Winters at Mills College, California, and linecut; Bull IV, lithograph, screenprint, and linecut. Each sheet 27 x 35 in. Collection of the Omaha, Nebraska. Support for the exhibition and creates work that bridges both Jordan Schnitzer Family Foundation, © Estate of Roy Lichtenstein related educational and outreach programs has been Chinese and American cultures. Her paintings and prints mix Opposite, bottom center: Sol LeWitt (American, 1928–2007). Color Bands (from Wadsworth made possible by a grant from the Jordan Schnitzer Chinese and Western imagery Portfolio), 2000. Published by Parasol Press, Ltd., New York, NY; edition of 75, 10 AP. Eight Family Foundation, the Coeta and Donald Barker as well as modes of art making. linocuts, each sheet 29 x 29 in. Collection of the Jordan Schnitzer Family Foundation, © 2014 The Changing Exhibitions Endowment, The Harold and Liu will give a talk about her LeWitt Estate/Artists Rights Society (ARS), New York Arlene Schnitzer CARE Foundation, the Oregon Arts work, including the two prints Opposite, far right: Hung Liu (Chinese, born 1948). The Last Dynasty: Countess, 2009. Published on view in the exhibition, by Shark’s Ink., Lyons, CO; edition 8/30. Lithograph, 50 x 21 in. Collection of Jordan D. Schnitzer, Commission and the National Endowment for the with a focus on the role of © Hung Liu Arts, a federal agency, and JSMA members. printmaking. [ 2 ] [ 3 ] FROM THE DIRECTOR Happy New Year! May it be filled with Images of Architecture friends, family— February 17–April 5, 2015 | Focus Gallery and art. Drawn entirely from the collections of the JSMA, We have an exciting winter this exhibition explores different modes of program on its way to you! representing European architecture. From prints Under Pressure: Contemporary to drawings to photography, the works on view Prints from the Collections of Jordan D. Schnitzer explore the ways in which artists have rendered and his Family Foundation opens on January 24, three-dimensional space in two-dimensional with our Patron Circle and Members previews form. This exhibition is organized in conjunction with ARH 607, “Representing Architecture,” a the Thursday and Friday before, and a gallery tour Morris Graves (American, 1910–2001). Irish Goat, 1955. Oil on canvas, 38 x 52 in. Van Duyn Art with Jordan Schnitzer at 11 a.m. on Saturday. This graduate-level class taught by Professor Maile Museum Fund Purchase is an opportunity to see a selection representative Laura Heit. Image: Courtesy of Adams and Ollman. Photo by Mario Gallucci Hutterer in the Department of the History of Art of the range and quality of one of the world’s and Architecture. Morris Graves’s Goats: Heroes and Fantasies most interesting private print collections and be Curator’s Talk: Images of Architecture Graves Gallery | Through April 19, 2015 inspired and informed by a consummate collector. Wednesday, February 25, 5:30 p.m. Many of our winter programs are partner- Laura Heit: Two Ways Down Senior Curator of Western Art Johanna G. Seasonwein Inspired by the special loan of Hero: Portrait of the Irish Celtic Temperament and the speaks about the works in the exhibition. ships with departments and programs on 240A (adjacent to Barker Gallery) | January 24 – March 29, 2015 museum’s recent acquisition of Irish Goat, this selection of paintings and works on campus. We’re mining our collection of images paper showcases Morris Graves’s goat imagery from the 1950s. These animals were A hand-drawn animated installation and film, Two Ways Down takes of architecture in conjunction with an A&AA of particular interest to Graves during a period of respite in the Irish countryside inspiration from the Hieronymus Bosch work Garden of Earthly Delights. class and our Belluschi exhibition, and we’re (1954–64). The landscape and climate in Ireland reminded Graves of his native Reflecting on the momentary nature of life, Heit’s fantastical piece uses working with Latin American Studies faculty on Pacific Northwest, and he drew from the local livestock, wildlife, and folklore thrown shadows from tabletop dioramas and reflected and refracted a project that addresses the rights of Dominican for inspiration. Graves’s images of goats—which ranged from careful studies to animated projections to create a fleeting world where human-animal hybrids, Haitians. Other shows, including Laura Heit’s imaginative fantasy drawings—reveal his fascination with a commonplace creature. specters, and body parts morph and flit across the walls. Two Ways Down and The Color of Health and Curator’s Lecture: Morris Graves in Ireland Portland-based, Heit is an experimental filmmaker and performance Nutrition, a collaboration with Edison School and Wednesday, January 28, 5:30 p.m., Danielle Knapp, McCosh Associate Curator artist who has been making puppet shows/performance work and animated Karla Chambers, foreground the work of one of films for more than fifteen years. Disquieting and evocative, her films and Portland’s most inventive moving image artists, performances seamlessly cross genres to unfold poetic visual narratives. while the other shows how art can affect healthy Heit employs a strong handmade aesthetic, an irreverent sense of humor, life-style changes, especially for our youth. drawing, puppetry and animation to bring together ideas and stories about The Architecture and Legacy of Pietro Belluschi We’re featuring in this issue two special loans, phantoms, ghosts, love, loss, and invisibility. Her works have been screened Schnitzer Gallery | February 7–April 26, 2015 a vibrant painting by Yayoi Kusama, the subject extensively in the U.S. and abroad (including Rotterdam, Annecy, Hong of a recent Whitney Museum of American Art Portland-based architect Pietro Belluschi (1899–1994) was one of the leading pro- Kong International Film Festival, London International Film Festival, Ann retrospective, and in our Morris Graves gallery, ponents of Modernist architecture in the Pacific Northwest. Born in Italy, Belluschi Arbor Film Festival, Walker Art Center, MOMA, Millennium Film, and an exhibition featuring the artist’s goat imagery, joined the Portland firm of A.E. Doyle in 1925, quickly rising up the ranks and even- the Guggenheim Museum). Recent performance venues have included the which includes the loan of Hero: Portrait of the tually buying out the remaining partners in 1943.
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