The University of Oregon School of Architecture and Allied Arts in partnership with The Ford Family Foundation is pleased to announce the continuation of the Curator and Critic Tours and Lectures program, Connective Conversations | Inside Oregon Art for the 2013-14 season.
Michael Ned Holte
Closer-than-close: Notes on Some Exhibitions and (at least) One Performance
Saturday, December 6, 2013
White Stag Block
University of Oregon in Portland
Michael Ned Holte is a writer, independent curator, and educator based in Los Angeles. His texts have appeared in publications including Live Art in LA: Performance in Southern California, 1970-1983 (Routledge); Seven Films by Paul Sietsema (Mousse/MCA Denver); Kathryn Andrews: Special Meat Occasional Drink (Museum Ludwig); In the Shadow of Numbers: Charles Gaines Selected Works from 1975-2012 (Pomona College Museum of Art/Pitzer Art Galleries); Richard Hawkins—Third Mind (Art Institute of Chicago/Yale); and Roy McMakin: When is a Chair Not a Chair (Skira/Rizzoli). He is a frequent contributor to print and online periodicals such as Afterall, Artforum International, Art Journal, East of Borneo, Kaleidoscope, Pin-Up, and X-tra. Holte is codirector of the Art Program at the California Institute of the Arts. Previously he taught at the University of Southern California and was a visiting faculty member of the Core Program at the Glassell School of Art at the Museum of Fine Arts, Houston.
Holte has organized numerous exhibitions including “TL;DR” (2014) at Artspace, Auckland, New Zealand; “Temporary Landmarks & Moving Situations” at Expo Chicago (2012); “Support Group” at Thomas Solomon at Cottage Home, Los Angeles (2010); “Laying Bricks” at Wallspace Gallery, New York (2007); and “Celine and Julie Go Boating” at Anna Helwing Gallery, Los Angeles (2005). In 2008, he was a member of the curatorial team for “Present Future” at Artissima 15 in Torino, Italy. Along with Connie Butler, he was co-curator of the 2014 edition of “Made in L.A.” at the Hammer Museum, Los Angeles.
Dedicated to You, But you Weren't Listening
Tuesday, July 29, 2014
White Stag Block
University of Oregon in Portland
Eric Fredericksen is the Waterfront Program Art Manager for the City of Seattle, developing art commissions and cultural projects for the city's central waterfront. He is also an independent curator and writer, and an adjunct lecturer at the University of Washington School of Art. Previously he was director of Western Bridge, an exhibition space of the Ruth and William True Collection in Seattle, and an editor and writer for The Stranger and Architecture. He has organized exhibitions at the Contemporary Art Gallery, Artspeak, and the Or Gallery, Vancouver; at Open Satellite, Bellevue, WA, and the Noorderzon Festival, Groningen, the Netherlands.
Photography Shoots Itself: The Objectification of the Photograph from Jiro Takamatsu to Camille Henrot
Tuesday, April 29, 2014
White Stag Block
University of Oregon in Portland
Wednesday, April 30, 2014
University of Oregon
Michael Darling is the James W. Alsdorf Chief Curator of the Museum of Contemporary Art (MCA), Chicago, where he has organized the exhibitions Pandora’s Box: Joseph Cornell Unlocks the MCA Collection, The Language of Less (Then and Now), IAIN BAXTER&: Works 1958-2011, Ron Terada: Being There, David Hartt: Stray Light, Phantom Limb: Approaches to Painting Today, and Think First, Shoot Later: Photographs from the MCA Collection. Forthcoming exhibitions include Isa Genzken: Retrospective and Anne Collier.
Previously, Darling was the Jon and Mary Shirley Curator of Modern and Contemporary Art at the Seattle Art Museum (SAM). His exhibitions at SAM included Kurt, Target Practice: Painting Under Attack, 1949-78, Thermostat: Video and the Pacific Northwest, along with exhibits on the work of Su-Mei Tse, Nicolas Provost, Geoff McFetridge, Enrico David, Oscar Tuazon and Eli Hansen. Prior to SAM,
Darling was associate curator at the Museum of Contemporary Art (MOCA), Los Angeles, where he curated the exhibitions Roy McMakin: A Door Meant as Adornment, Sam Durant, Painting in Tongues, and The Architecture of R.M. Schindler. He also organized Superflat in collaboration with the artist Takashi Murakami. Darling received his BA in art history from Stanford University, and his MA and PhD in art and architectural history from the University of California, Santa Barbara.
Darling frequently serves as a panelist, lecturer, and guest curator on contemporary art and architecture. To see lecture details go here.
Ellegood will also participate as a keynote speaker for the 2013 Oregon Arts Summit “Re-Thinking Engagement” on October 8, 2013. The Oregon Arts Summit, hosted by the Oregon Arts Commission, features presentations by leading national experts and Oregon leaders—within and outside the Arts sector to deepen the exploration of this year’s theme, “Re-Thinking Engagement.”
Since joining the Hammer in 2005, Ellegood has co-organized two large-scale exhibitions-All of this and nothing (2011) and the Hammer's inaugural biennial of Los Angeles-based artists, Made in LA 2012, a city-wide effort that included 60 LA-based artists working in all different mediums.
Prior to joining the Hammer, Ellegood was Curator of Contemporary Art at the Hirshhorn Museum & Sculpture Garden in Washington D.C., since 2005. Previously, she was the New York-based Curator for Peter Norton’s collection of over 2,400 works of international contemporary art. From 1998-2003, she was the Associate Curator at the New Museum of Contemporary Art in New York.
While at the Oregon Arts Summit, Ellegood will also participate in an afternoon break-out session focusing on Oregon’s Visual Arts Ecology. She will join Tom Manley, President of Pacific Northwest College of Art and Portland artists Tad Savinar and Jon Raymond to talk about the forces that allow a community of artists to thrive.
Ellegood’s visit to Oregon is sponsored by The Ford Family Foundation’s Visiting Curator and Critic Program, organized by The University of Oregon School of Architecture and Allied Arts in partnership with The Ford Family Foundation.
Curator tour: Oregon artist studios September 2013
As part of the continuing Connective Conversations Curator and Critic Tours and Lectures series, John Spiak will be in Oregon to visit artist galleries during the month of September.
John D. Spiak was appointed Director/Chief Curator of California State University Fullerton’s Grand Central Art Center (GCAC), Santa Ana in September of 2011.
His curatorial emphasis is on contemporary art and society, with focus on works in social practice and video. Through the GCAC Artist in Residence initiative, Spiak hosts national and international artists at the center as they develop projects, most recently Adriana Salazar (Bogota, Colombia) and Carmen Papalia (Vancouver, BC).
Prior to his appointment at GCAC, he was Curator at the Arizona State University Art Museum, joining that staff in 1994. Spiak was acting curator in charge of the ASU Art Museum residency initiative series Social Studies, which featured solo social practice community projects. In 1997, he founded and was acting director for fifteen years of the annual ASU Art Museum Short Film and Video Festival.
Spiak has curated over 100 solo and group exhibitions over his career, working directly with artists including Pipilotti Rist, Shirin Neshat, Brent Green, Tony de los Reyes, Jillian Mcdonald and Adam Chodzko. His projects have received support from such prestigious organizations as The British Council, Metabolic Studio, Polish Cultural Institute, National Endowment for the Arts (NEA), CEC ArtsLink and The Andy Warhol Foundation for the Visual Arts.
Curator tour: Oregon Coast May 2013
Buzz Spector is an artist and critical writer whose artwork has been the focus of exhibitions in such museums and galleries as the Art Institute of Chicago, Corcoran Gallery of Art, Washington, DC, Mattress Factory, Pittsburgh, PA, Orange County Museum of Art, Newport Beach, CA, and the Urban Institute for Contemporary Arts, Grand Rapids, MI. Spector’s work makes frequent use of the book, both as subject and object, and is concerned with relationships between public history, individual memory, and perception.
Spector’s poetry and experimental writing has been published in various journals and reviews since the 1970s, including Benzene, Café Solo, and River Styx. He was a co-founder of WhiteWalls, a magazine of writings by artists, in Chicago in 1978, and served as the publication's editor until 1987. Since then Spector has written extensively on topics in contemporary art and culture, and has contributed reviews and essays to a number of publications, including American Craft, Artforum, Art on Paper, Dialogue, Exposure, New Art Examiner, and Visions. A volume of selected interviews with Spector, plus new page art, Buzzwords, is newly in print from Sara Ranchouse Publishing, Chicago, and Spector is also the author of The Book Maker's Desire, critical essays on topics in contemporary art and artists' books (Umbrella Editions, 1995), and numerous exhibition catalogue essays, including Ann Hamilton: Sao Paulo – Seattle (University of Washington Press, 1992), Dieter Roth (University of Iowa Museum of Art, 1999), and The Hybrid Book (University of the Arts, Philadelphia, 2009).
Spector earned his B.A. in Art from Southern Illinois University at Carbondale in 1972, and his M.F.A. with the Committee on Art and Design at the University of Chicago in 1978. In 2005 he was awarded a New York Foundation for the Arts Fellowship in Printmaking/Drawing/Artists’ Books. Among his other awards are a Louis Comfort Tiffany Foundation Fellowship in 1991 and National Endowment for the Arts Individual Artist Fellowships in 1982, 1985, and 1991. Spector is the Jane Reuter Hitzeman and Herbert F. Hitzeman Jr. Professor of Art and Dean of the College and Graduate School of Art in the Sam Fox School of Design & Visual Arts at Washington University in St. Louis.