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Map to location of Foyer Gallery in Lawrence Hall

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Audrey McCarthy revives abandoned studio materials through ornamentation and assemblage. Her ceramic sculptures explore process, preciousness, and play as the forms imbue remnants of unassuming studio corners: the bottom of the sink, the back of the shelf, the side of the bucket. She dresses each piece with color, texture, and pattern as an homage to the depreciated materials.

Andrew Hunter is exploring the objectness of a painting as a machine, as they yield the power to modify motion at an incredibly slow rate which captures the mechanics of (a) reality and (b)etween others. The paintings then become devices for communicating between the spaces of light and movement, the unseen segments of time which exposes the other.

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Co-director Alexi Pappas and Producer Laura Wagner will offer insight into the creative and logistical challenges of making an independent feature in Tracktown–Eugene, OR. An unconventional coming-of-age film that blurs the line between fiction and lived athletic experience, Tracktown (2016) draws on Pappas’s dual identity as an elite Olympic runner and filmmaker.

Free and open to UO students.

About the Filmmakers

Alexi Pappas–Co-director, Co-writer: Alexi is a filmmaker and a professional athlete training for the 2016 Olympics in the 10,000 meters. Alexi completed her thesis in poetry at Dartmouth College where she graduated magna cum laude before running off to compete in the 2012 Olympic Track & Field Trials. In 2011 Alexi co-wrote the script for the award-winning feature film Tall as the Baobab Tree. Alexi was also a member of the Dog Day Players improv theatre troupe at Dartmouth and is a graduate of the UCB Theater improv program in New York City. She is the co-founder of Film Fatales Portland.

Laura Wagner–Producer: Laura, founder of Bay Bridge Productions, produces independent films and theatre projects. She is the recipient of the Sundance Institute’s Creative Producing Fellowship, the San Francisco Film Society’s Kenneth Rainin Foundation Fellowship, and the IFP/Cannes Marche Du Film Producer’s Network Fellowship. She was nominated for a Film Independent Spirit Award for It Felt Like Love, the critically acclaimed feature film that premiered at the Sundance Film Festival and the Rotterdam International Film Festival.

Filmlandia Masterclass: A Strauss Visiting Filmmaker Series Special Event

Cosponsored by: Harlan J. Strauss Visiting Filmmaker Endowment; Department of Art; Department of Comparative Literature; Department of English; Department of History; Department of Indigenous, Race, and Ethnic Studies; Native American and Indigenous Studies; Folklore and Public Culture Program; School of Journalism and Communication; Art House Theater; DUX Present; Jordan Schnitzer Museum of Art; Julie and Rocky Dixon Chair of U.S. Western History; and Oregon Humanities Center’s Endowment for Public Outreach in the Arts, Sciences, and Humanities.

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Join Salar Mameni for a reflection on war, genocide and the limits of critique.

Salar Mameni is an associate professor of Comparative Ethnic Studies and affiliated faculty in the History of Art at the University of California at Berkeley. He specializes in contemporary transnational art and visual culture in the Arab/Muslim world with interdisciplinary research on racial discourse, transnational gender politics, militarism, oil cultures and extractive economies in West Asia. Mameni is the author of Terracene: A Crude Aesthetics (Duke, 2023), which considers the emergence of the Anthropocene as a new geological era in relation to the concurrent declaration of the War on Terror in the early 2000s.

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This talk explores Alice Bucknell’s work through the lens of clipping: the moment in a video game when the player slips through a wall or falls beyond the map. Often treated as a technical error, clipping becomes a method for breaking open systems and exposing their ecological, political, and epistemic structures. Across projects such as The Alluvials (2023), Small Void (2025), and Earth Engine (both 2026), Bucknell uses gamespace as a site for speculative experimentation, blurring boundaries between humans and nonhuman, natural and synthetic intelligences, and self vs world. In this framework, play offers an affective encounter with the world that’s grounded in total feeling rather than totalized knowledge. Clipping the horizon means colliding with the limits of perception itself and tumbling sideways into a world that resists being mapped, modeled, or controlled.

Alice Bucknell is an artist, writer, and educator based in Los Angeles. Their work explores the affective dimensions of video games as interfaces for understanding complex systems, relationships, and forms of knowledge. Bucknell is generally interested in the limits of scientific knowledge and systems thinking, the weird possibilities of play, and play as an embodied technology. They have exhibited internationally, including at Centre Pompidou (Paris), Kunsthalle Praha (Prague), Ars Electronica (Linz), transmediale (Berlin), Arcade Seoul, the Venice Architecture Biennale, the Singapore Art Museum and Serpentine Galleries (London). In 2025, their video game The Alluvials was acquired by SFMOMA, becoming the first video game in the museum's permanent collection. A 2025 recipient of the Creative Capital Award and a 2026 resident of La Becque Principal Residency Program in Switzerland, Bucknell teaches world

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Free and open to the public.

Directed by Alexi Pappas and Jeremy Teicher | 88 min

Synopsis: A young, talented, and lonely long-distance runner twists her ankle as she prepares for the Olympic Trials and must do something she’s never done before: take a day off.

The Department of Cinema Studies and the University Film Society celebrate Oregon’s rich film heritage with a new screening series showcasing movies with a unique Oregon connection—from locally shot features to stories written or directed by Oregon filmmakers. Discover Oregon’s reel legacy on the big screen while connecting with the university film community.

A Strauss Visiting Filmmaker Series Special Event

Cosponsored by: Harlan J. Strauss Visiting Filmmaker Endowment; Department of Art; Department of Comparative Literature; Department of English; Department of History; Department of Indigenous, Race, and Ethnic Studies; Native American and Indigenous Studies; Folklore and Public Culture Program; School of Journalism and Communication; Art House Theater; DUX Present; Jordan Schnitzer Museum of Art; Julie and Rocky Dixon Chair of U.S. Western History; and Oregon Humanities Center’s Endowment for Public Outreach in the Arts, Sciences, and Humanities.

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On Monday, April 27, leaders from Burson — one of the world’s largest communications firms and a global authority on reputation, led by University of Oregon graduate and CEO Corey duBrowa — will join SOJC students for a conversation about one of the most valuable assets organizations have today: reputation.

New research from Burson estimates the global “Reputation Economy” at $7.07 trillion, showing that companies with strong reputations generate measurable financial value and outperform their peers.

So what exactly is reputation?

How do organizations measure, monitor, protect, and promote it?

And what role do public relations professionals play in managing reputation in an AI-driven world?

Burson — which worked with Nike and the University of Oregon on the recent Grateful Ducks collection — will bring the perspective of a firm that helps some of the world’s most influential organizations build and protect reputation.

All students are welcome. No registration required.

When: Monday, April 27

5-6pm: Panel Discussion - Lawrence 177
Featuring Steve Radick, EVP and Managing Director of Corporate Affairs at Burson; more panelists to-be-announced.

6-7pm: Mixer - Allen Hall Atrium
Chat with representatives from Burson over light refreshmentsand appetizers.

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Woman who sparked Japan’s #MeToo movementPeabody Award winnerOscar-nominated filmmakerThis event will feature a screening of the widely acclaimed memoir documentary film, Black Box Diaries, followed by an in-person conversation with director Shiori Ito.

Ito is the first Japanese documentary filmmaker to be nominated for an Academy Award. The film chronicles Ito’s investigation and pursuit for justice following a sexual assault she suffered in 2015 as a young journalist. It follows her attempt to prosecute the high-profile offender, a senior figure in the Japanese media. Her challenge to Japan’s patriarchal, judicial, political, and media systems has made this a landmark case of gender-based violence in Japan.

The event is sponsored by:

Yoko McClain Lecture Series in Japanese StudiesDepartment of East Asian Languages and LiteraturesOregon Humanities Center Endowment for Public Outreach in the Arts, Sciences, and HumanitiesCenter for Asian and Pacific Studies

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Free and open to the community.

Directed by Rachel Lambert | 2023 | 91 Min
Lost on the dreary Oregon coast, Fran finds solace in her cubicle, listening to the constant hum of officemates and occasionally daydreaming to pass the time. She is ghosting through life, unable to pop her bubble of isolation, when a friendly new coworker, Robert, persistently tries to connect with her. Though it goes against every fiber of her being, she may have to give this guy a chance. Director Lambert and team craft beautiful cinema for this delicately told story of love for the socially awkward and emotionally challenged. The film is made all the more human by its lovely cast, most prominent in the penetrating eyes of lead actress/producer, Daisy Ridley, and the caring smile of lead actor, Dave Merheje. Sometimes I Think About Dying is an unexpected fable on the virtues of living.

The UO Cinema Studies Visiting Filmmaker Series is Funded by the Generous Harlan J. Strauss Visiting Filmmaker Endowment.

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1 hour

just practice is a collaborative practice started by Amanda Ugorji and Sophie Weston Chien. They will be lecturing on their process and how their experiences and values shape their work as built environment professionals, educators, and textile designers. In addition to sharing their most recent pieces intersecting ideas of environmental justice, the built world, and narrative, they will be sharing how they have navigated collaboration, funding, and working sustainably. They hope for this lecture to serve as a case study for young practitioners imagining what is next.

Workshop - practicing process with just practice

75 minutes

In this workshop with just practice, we ask you to bring a project you feel most excited about being realized and imagine how to make it real with us. So much of what we do in school is framed as an exercise, but we are interested in thinking about how the ideas (and sometimes derivatives) can show up in your work outside of school. For roughly an hour, we will talk through embedded values, potential collaborators, design agency, and what success would look like to you. We hope to foster a broader conversation with peers. Please submit an image associated with the project and a three-sentence description in advance.

Bio

just practice (Amanda Ugorji and Sophie Weston Chien) spans architecture, landscape architecture, urban planning, community engagement, textile, and graphic design, as well as activist and organizing work within the design field. We think about modes of practice, the spatialization of memory, Black feminist practices, the historical role of women in architecture, and strategies for collective care. just practice has exhibited at Northeastern University, Mills College, MIT Museum, Boston Public Library Leventhal Map Center, MIT Rotch Architecture Gallery, Yale School of Art and Boston Society of Architects, and our work is in private collections and in the permanent collection at the MIT Museum. Our piece Soft City was awarded the inaugural City Talks Digital Gallery Award from the Spatial Analysis Lab at USC, and we were finalists for the Harvard University Radcliffe Institute Public Art Competition.

Sophie is from North Carolina, and Amanda is from Massachusetts.

This memorial lecture was created by friends and family members of our department’s alumna, Mary Kim McKeown. She received her bachelor of landscape architecture from the University of Oregon in 1982 and was working in Mill Valley, California in the offices of Royston, Hanamoto, Alley and Abey (now RHAA). McKeown was considered one of the bright ones, and an up-and-coming leader for the firm. She lost her life when a magnitude 7.1 earthquake struck the San Francisco Bay Area on October 17, 1989.

To honor her memory, McKeown’s family and her associates at RHAA dedicated themselves to establishing this memorial lecture fund. An endowment fund at the UO Foundation was created, and in 1992 the department hosted Robert Royston of RHAA as the inaugural speaker in this lecture series.

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Lambert will offer her evolving process for developing a cohesive artistic vision and character-driven narratives across her three indie feature films, In the Radiant City (2016), Sometimes I Think About Dying (2023) and Carousel (2026).

Free and open to UO students.

The UO Cinema Studies Visiting Filmmaker Series is Funded by the Generous Harlan J. Strauss Visiting Filmmaker Endowment.

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“This presentation introduces my studio practice, which is situated at the intersection of weaving and animation. I create woven textiles on a jacquard loom and translate these fabrics into time-based works, approaching the loom as a camera and editing tool. By working with sequential woven images and material processes, my work explores how textiles can generate motion and shape the moving image. I will discuss recent projects that move between handwoven cloth and animation, as well as the technical and conceptual questions that arise when textiles are used as a time-based medium. The talk will also touch on the overlapping histories of weaving and cinema, and how textile processes offer alternative ways of thinking about moving images, narrative, and authorship.”- Kate Nartker, 2026

Kate Nartker works between animation and weaving to dismantle images, narratives, and material structures. She received an MFA from the California College of the Arts and is an Assistant Professor of Textile Design at the Wilson College of Textiles at NC State University. Her work has been included in exhibitions and screenings throughout the United States and internationally, including The Museum of Craft and Design in San Francisco, The Contemporary Austin, and the Hordaland Art Center in Bergen, Norway.

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Directed by Michael Miller | 74 min | Rated R

Synopsis: When a middle-aged father searches for his dropout daughter Angel, his quest takes him into the underworld of prostitutes, pimps, drug addicts, and thieves.

The Department of Cinema Studies and the University Film Society celebrate Oregon’s rich film heritage with a new screening series showcasing movies with a unique Oregon connection—from locally shot features to stories written or directed by Oregon filmmakers. Discover Oregon’s reel legacy on the big screen while connecting with the university film community.

Cosponsored by: Harlan J. Strauss Visiting Filmmaker Endowment; Department of Art; Department of Comparative Literature; Department of English; Department of History; Department of Indigenous, Race, and Ethnic Studies; Native American and Indigenous Studies; Folklore and Public Culture Program; School of Journalism and Communication; Art House Theater; DUX Present; Jordan Schnitzer Museum of Art; Julie and Rocky Dixon Chair of U.S. Western History; and Oregon Humanities Center’s Endowment for Public Outreach in the Arts, Sciences, and Humanities

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Allan Wexler’s work mediates the gap between fine and applied art using the mediums of architecture, sculpture, photography, painting, and drawing. Wexler’s work is sometimes functional, sometimes theoretical, and often performative. In all cases, it demonstrates a commitment to reevaluating basic assumptions about the human relationship to the built and natural environments.

In the late 1960s Allan Wexler was an early member of the group of architects and artists who questioned the perceived divide between art and the design disciplines. They called themselves non-architects or paper architects. The subject of Wexler's work is the built environment. He creates drawings, multimedia objects, images, and installations that alter perceptions of domestic activities. Wexler is a recipient of a Guggenheim Fellowship (2016), is a Fellow of the American Academy in Rome, and a winner of both a Chrysler Award for Design Innovation and the Henry J. Leir Prize from the Jewish Museum. Wexler currently teaches at Pratt Institute in Brooklyn, New York. He is represented by the Jane Lombard Gallery in New York City where he had a solo exhibition from January through March of 2025.

Made possible by the Department of Art, the Department of Product Design, and the Bob James Ceramics Fund.

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