Artist Talk with Juventino Aranda Thursday, February 23, 4:30 p.m. Fine Arts Auditorium Livestreamed via Zoom Webinar
Join us for a Lecture with artist Juventino Aranda!
On Thursday, February 23 at 4:30 pm, artist Juventino Aranda will be giving a public talk in the Fine Arts Auditorium about his work in the exhibition Juventino Aranda: Esperé Mucho Tiempo Pa Ver. Aranda’s work expresses a search for identity and much of his recent work draws on family history and particularities of his childhood. Never fully ascribing to one cultural category, his artwork blends and manipulates the categories of painting and sculpture, craft and high art, and manufacturing and the handmade, as well as the formal and conceptual strategies of post-minimalist artists. Talk is free and open to the public.
The Land of Open Graves:
Raising Awareness about Migrant Life and Death along the US/Mexico Border
Foley Institute Lecture with HT94 Curator & Anthropologist Jason De León Thursday, March 2, 12:00-1:00 p.m. In Person: Foley Speaker’s Room, 308 Bryan Hall Livestreamed: Link forthcoming
Join us for a Lecture with UCLA anthropologist Jason De León!
On Thursday, March 2nd at 12:00pm, anthropologist Jason De León will offer a lecture through the Foley Institute titled “The Land of Open Graves: Raising Awareness about Migrant Life and Death along the US/Mexico Border.” Since the mid-1990s, the U.S. federal government has relied on a border enforcement strategy known as “Prevention Through Deterrence.” Using various security infrastructure and techniques of surveillance, this strategy funnels undocumented migrants towards remote and rugged terrain such as the Sonoran Desert of Arizona with the hope that mountain ranges, extreme temperatures, and other “natural” obstacles will deter people from unauthorized entry. Since the 1990’s, thousands of people have died as a result of this policy. In this talk De León will discuss the politics of migrant death in Arizona, describe the ongoing global exhibition Hostile Terrain 94 (HT94) that seeks to raise awareness about this issue, and highlight the new collaboration between the Undocumented Migration Project and the Colibrí Center for Human Rights. Hostile Terrain 94 is on view at the Jordan Schnitzer Museum of Art WSU from January 17-March 11, 2023.
TUESDAY, OCTOBER 25, 2022 | 5:00 P.M.
IN PERSON – JORDAN SCHNITZER MUSEUM OF ART
FREE AND OPEN TO THE PUBLIC
OR WATCH ON YOUTUBE LIVESTREAM
Sam Roxas-Chua 姚 (Yao) is a transracial/transcultural adopted person. He is the author of Saying Your Name Three Times Underwater, Echolalia in Script, Fawn Language, and the podcast Dear Someone Somewhere, an audio-journal project. His open-form calligraphy, artworks, and writing have appeared in various journals and galleries. Sam is a poet in the periphery, a multimedia artist, field recordist, and an amateur radio operator. He’s read for PEN International, city government events, and is currently an artist-in-residence at the Portland Chinatown Museum. Poet Tyehimba Jess describes Sam’s poems as “surreal yet rooted in palpable color and history … it transcends oceans, blends geographies, and bleeds a multitongued heritage for us to better find ourselves.”
About | The WSU Visiting Writers Series brings noted poets and writers of fiction and nonfiction to campus for creative readings, class visits, workshops, and collaborative exchanges across intellectual and artistic disciplines.
Join guest curator Lipi Turner-Rahman as she guides a conversation about this exhibition, which chronicles the daily lives of agricultural workers—as well as an era of rising labor movements and social awareness—in the Yakima Valley in the 1960s and 70s. Special guests include Laura Solis, who was born and raised in the Yakima Valley community; Daisy Zavala Magaña from the Seattle Times; and Juventino Aranda, whose exhibition Juventino Aranda: Esperé Mucho Tiempo Pa Ver runs concurrently with Our Stories, Our Lives: Irwin Nash Photography of Yakima Valley Migrant Labor.
This event will be immediately followed by an opening reception for Our Stories, Our Lives: Irwin Nash Photographs of Yakima Valley Migrant Labor and Juventino Aranda: Esperé Mucho Tiempo Pa Ver.
After registering, you will receive a confirmation email containing information about joining the webinar.
Join artist Alison Saar on Thursday, February 10 from 4:30-5:30 p.m. online for a virtual lecture. The Jo Hockenhull Lecture series, organized by the Program in Women’s, Gender, and Sexuality Studies (WGSS), the Fine Arts Department, and the Jordan Schnitzer Museum of Art WSU, has named Alison Saar as the Visiting Lecturer for 2022. Saar will discuss the connections between art and social justice as she provides an overview of her work in sculpture and printmaking. This event is free to the public.
American artist Alison Saaris known not only for her powerful sculptures—she is also a master of the art of printmaking. In both forms, she employs a personal vocabulary informed by history, race, and mythology. Her influences range from ancient Europe, Africa, and American folk art. Saar’s works narrate stories of the African American experience, moving effortlessly from the personal to the political. In many of her works, she charts the tragic history of slavery in America, but her figures symbolize defiance and strength. Other recurring images are informed by jazz, romance, and desire. Mirror, Mirror: The Prints of Alison Saar: From the Collections of Jordan D. Schnitzer and His Family Foundation—featuring nearly 50 prints and five sculptures by the Los Angeles–based artist—is on view at the Jordan Schnitzer Museum of Art through March 12, 2022.
The Hockenhull lecture series was launched in 1996 by the Women’s Studies Department in collaboration with the Department of Fine Arts to honor Jo Hockenhull, a WSU emeritus professor of Fine Arts who served as director of women’s studies for more than a decade. At WSU, Hockenhull focused on building programs and initiatives supporting diversity, the liberal arts, free speech, and critical thinking. Past lecturers have been visual artists, poets, and performance artists who have emphasized the important connections between art, social justice, and political practice. Past recipients have included Arshia Fatima Haq, Marie Watt, Alma Lopez, Faith Ringgold, Octavia Butler, and the Guerilla Girls, to name a few.
Join guest curator Melissa Feldman in the museum galleries on Thursday, January 20, from 4:00-6:00 p.m. for a reception and gallery talk about the exhibition Indie Folk: New Art and Sounds from the Pacific Northwest. The gallery talk will begin at 4:30 p.m. The exhibition features the work of 17 artists—both established and emerging—from throughout the Northwest region in an exploration of its unique artistic ecosystem involving craft traditions, pre-industrial cultures, and Indigenous and settler histories.
Organized by the Jordan Schnitzer Museum of Art WSU and guest curated by Melissa E. Feldman. Indie Folk will travel to the Schneider Museum of Art, Ashland, OR and the Bellevue Arts Museum, Bellevue, WA. Funding for this exhibition is provided by the Samuel H. and Patricia W. Smith Endowment, the Mildred S. Bissinger Endowment, Patrick and Elizabeth Siler, Nancy Spitzer, and members of the Jordan Schnitzer Museum of Art WSU.
About the Curator | Along with her ongoing work as an independent curator and writer, Melissa Feldman held positions for the last several years as Distinguished Visiting Faculty at Cornish College of the Arts, Seattle, and Director of the Neddy Artist Awards. Recent curatorial projects include Uses of History (2019) at studio e, Seattle; Push Play, an Independent Curators International touring exhibition (2013-17): A Cool Breeze: L.A. and Vancouver Art in the 1960s and Beyond at Griffin Art Projects, Vancouver B.C. (2017); Another Minimalism: Art After California Light and Space (2015-16), at the Fruitmarket Gallery, Edinburgh and UK tour; Dance Rehearsal: Karen Kilimnik’s World of Ballet and Theatre (2012) at Mills College Art Museum, Oakland and the Museum of Contemporary Art, Denver. Feldman has been a frequent contributor to Art in America and Frieze among other international publications and has taught at the California College of Art, the San Francisco Art Institute, and Goldsmith’s College, London.
LOCATION | The Jordan Schnitzer Museum of Art WSU is located in the Crimson Cube (on Wilson Road across from Martin Stadium and the CUB) on the WSU Pullman campus. For more information please contact the museum at 509-335-1910. The museum is currently open Tuesday through Friday from 1-4 PM, Saturday from 10 AM to 4 PM, and closed Sunday and Monday.
Friday, April 9, 2021, 1:00–3:30 p.m. Open Gallery With MFA Thesis Candidate Stephanie Broussard
Jordan Schnitzer Museum of Art WSU, Pavilion Gallery Free and open to the public, no registration necessary.
MFA Candidate Stephanie Broussard will be present in the gallery to informally welcome visitors to her Master of Fine Arts Thesis exhibition. The artist will respond to your questions and provide impromptu tours during this time.
Attestation, distancing, and masks required: please see COVID-19 update on museum website. If the museum is at capacity when you arrive, please wait outside on Terrell Mall. Museum staff will be available to advise waiting visitors.
LOCATION | The Jordan Schnitzer Museum of Art WSU is located in the Crimson Cube (on Wilson Road across from Martin Stadium and the CUB) on the WSU Pullman campus. For more information please contact the museum at 509-335-1910.
Join MFA graduate candidate Stephanie Broussard virtually as she takes the audience on a tour of her thesis exhibition in the museum’s Pavilion gallery. Traveling from many places to join the cohort at WSU, Broussard engaged in an intense two-year interdisciplinary studio program and met regularly with faculty members for group and individual critiques. Visiting artists and scholars provided diverse one-on-one insight into her creative work while the artist sharpened her confidence, convictions, and skills.
Stephanie Broussard’s work interprets and plays with perceptions of space utilizing the language of paint. Through a series of contrasting themes, she has constructed narrative paintings revolving around distance & closeness; interior & exterior; cityscape & landscape; spiritual & physical; presence & absence.
After the presentation, Stephanie will be joined by her MFA peers for a panel discussion regarding her work. The remainder of Broussard’s MFA cohort, who also entered the program of graduate study in Fine Arts in 2019, have elected to stay a third year due to complications of COVID-19. Broussard’s fellow MFAs have been an important part of her graduate experience, and the panel discussion will give this special group time to reflect on and celebrate Broussard’s effort and accomplishment.
Note: Stephanie’s livestreamed artist talk is fully virtual.
Organized by the Jordan Schnitzer Museum of Art WSU. Funding for this exhibition is provided by the Samuel H. and Patricia W. Smith Endowment and members of the Jordan Schnitzer Museum of Art WSU.
Teaching Through Talking: How Betty Feves’ Ceramics Reveal Historic Shifts in Art Education
Wednesday, October 28, 2020, 5:00–6:00 p.m. Remote Zoom Webinar
Livestreamed Art History Talk by Namita Gupta Wiggers Discussion and Q&A to follow with guest Squeak Meisel, Chair, WSU Department of Fine Arts
Educator and curator Namita Gupta Wiggers will discuss an important pivot in arts education in the 1930s and 40s exemplified by the ceramics of artist and WSU alumnus Betty Feves. This talk accompanies the exhibition Betty Feves: The Earth Itself at the Jordan Schnitzer Museum of Art at WSU. After the talk, Namita will have a conversation with Squeak Meisel, Chair of WSU’s Department of Fine Arts. Questions will be moderated via Zoom Q&A.
Betty Whiteman Feves belongs to a generation of mid-century vanguard artists who set the stage for dynamic shifts in the use of clay in art. She graduated from Washington State College (now Washington State University) in 1939. As an undergraduate student, Feves experienced an historic pivot in arts education, exemplified by the teachings of Abstract Expressionist Clyfford Still. Still’s discussion-based approach, which we know as the modern-day “crit,” was a radical shift away from a physical correction-based method. Feves also studied with Cameron Booth, William Fortune Ryan, and Alexander Archipenko, but correspondence with her classmate Alice Burke Schuchman reveals that Still’s teachings were the ideas with which she continued to wrestle. From Still, Feves learned dedication, the crit-based method of education, and how to mix her own paint. She also experienced the pressures and constraints pushed upon female art students aiming to be working artists in the 1930s and 40s. Starting with her academic art education, this lecture will connect Feves’ work in the context of her undergraduate and graduate education at WSU, Columbia University, and DesignTechnics with her lifelong work in clay.
Download and install Zoom before the webinar starts:https://zoom.us/download
Select the first option, “Zoom Client for Meetings” then click the “Download” button
To join via telephone: US: +1 253 215 8782
• Enter the meeting ID: 97783041501#
• After the prompt, press #
Funding for this program and exhibition is provided by Alan and Laurie Feves, the Samuel H. and Patricia W. Smith Endowment, Patrick and Elizabeth Siler, and members of the Jordan Schnitzer Museum of Art WSU.