Friday, March 24, 2017 at 6:00pm to 8:00pm
70 NW Couch Street, Portland, OR 97209
MARCH 14 – APRIL 8, 2017
M A D E I N O R E G O N is an exhibition that shows the breadth of recent activities involving Craft at the University of Oregon (UO) as a way to articulate the identity and trajectory of the program. The focus of this exhibition is on the work of three distinct groups of artists; faculty, staff, and students related to the UO Ceramics Area, artists who participated in the 2016 studio intensive called “Summer Craft Forum @ University of Oregon”, and those participating in a spring 2017 pre-conference collaboration between the Oregon College of Arts and Craft (OCAC) and the UO called “To Crack a Space” where artists and designers occupied the OCAC digital fabrication lab in order to use and challenge the facility in ways that yield a greater understanding of the limits and opportunities such spaces and related methodologies afford in contemporary art practice.
Representing the UO Ceramics Area is the work of faculty members Brian Gillis, Ian McDonald, Jessica Swanson and Trygve Faste (of Something Like This Design), and John and Wonhee Jeong Arndt (of Studio Gorm), lab technician and alum Damon Harris, undergraduate students Julia Sherman and Thomas Sprott (PEACHES), and Natalie Justema, and graduate students Leah Howell and Kayla Thompson.
The July 2016 “Summer Craft Forum @ University of Oregon” will be represented by the work of those who participated in a two-week engagement where craft practitioners working within ceramics, fibers, metalsmithing, and printmaking were invited to occupy the UO’s studios to make work and participate in discourse related to issues in the field of craft. Attending artists were given access to a range of campus resources including the Jordan Schnitzer Museum of Art’s (JSMA) extensive collection. Participating artists included Tim Berg and Rebekah Myers, Stacy Jo Scott, Ian McDonald, Brian Gillis, Anya Kivarkis, Yevgeniya Kaganovich, Sonja Dahl, Jovencio de la Paz, Jeanne Medina, Ben Levy, Noah Breuer, and Charlene Liu.
“To Crack a Space”, held at OCAC’s new digital fabrication lab from March 20 – 21, is represented by the work of MyersBerg Studios (Tim Berg and Rebekah Myers), Julie York, Brian Gillis, Dylan Beck, Future Retrieval (Guy Michael Davis and Katie Parker), David Bachman, and Studio Gorm (John and Wonhee Jeong Arndt). For this endeavor, artists were invited to use, test, and hack the space in order to learn what the limits such a space and related methodologies might be. This event culminated with a Conversation on Craft at OCAC on the evening of March 21 entitled “Method Fetishes and Affordance”. Facilitated by Brian Gillis, conversation participants included John Sherry (Director of Business Innovation for Intel), Jennifer Navva Miliken (Independent Curator), and artists Katherine L. Ross (Professor of Art at the School of the Art Institute of Chicago), Karl Burkheimer (Professor/Chair of MFA in Craft at OCAC), and Anya Kivarkis (Associate Professor and Area Head of Jewelry and Metalsmithing at the University of Oregon).
Exhibition curated by Brian Gillis, Associate Professor of Art, University of Oregon.
M A D E I N O RE G O N is in conjunction with Future Flux
Future Flux, NCECA’s 51st Annual Conference (March 22 – 25, Portland OR) will explore social, technical, pedagogical, aesthetic, historical and other aspects of clay work and its incumbent processes.
In addition to M A D E I N O RE G O N, NCECA will situate nearly 90 exhibitions throughout theGreater Portland, Oregon area. NCECA will also open parts of the conference at the Oregon Convention Center to the public free of charge. These include Gallery Expo, Projects Space, NCECA Cup Exhibition and Sale, and the National K12 Ceramic Foundation Exhibition.
Conference registration fees and a badge are required to access to other conference programming. Please visit www.nceca.net for more information.
NCECA is a nonprofit organization that provides a framework for a wide range of individuals, organizations, and businesses to form and deepen connections between clay, culture, learning, and life. Founded in 1966 by artists teaching and creating with clay, the organization is committed to the belief that this common material possesses remarkable nature that engages body and mind in imaginative inquiry unlike any other medium. NCECA’s dedication to clay, as well as the knowledge, traditions, and creative spirits embodied through it connect us to the earth and one another today, as well as diverse cultures who precede us.WHITE BOX
*please note the entrance is now located on NW Couch St.*
70 NW Couch St., Portland, OR 97209