College of Design

Permanent URI for this community

https://hdl.handle.net/1794/11031

Note: Originally named the School of Architecture and Fine Arts, and known for 100 years as the School of Architecture and Allied Arts (A&AA), the College of Design has undergone several name changes and department and program changes throughout its history to reflect its ever-evolving identity.

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Open Access
2022 Spring Storm
(2022) Department of Art, University of Oregon
Students completing their degrees in Art, Art & Technology, and Product Design have been working tirelessly to imagine, invent, create, and realize a tremendous range of independent creative projects. These artists and designers have forged ahead during these strange and unsettling times, developing unexpected ways of doing things, collaborating in new ways, and realizing amazing projects.
Open Access
UO Art MFA 2022
(University of Oregon, 2022) Department of Art, University of Oregon; Cebere, Agnese; Lichucki, Caroline; Buzzee, Dana; Langley, Erin; Petkau, Hannah; Clarke, Kara; Herceg, Noelle; Stoll, Tyler
Each year the terminal creative projects from our MFA candidates elevate and activate discourse and pleasure in the Art Department and across the College of Design with an ethos of fearless possibility. Their creative research of new knowledge, or the rearrangement of old knowledge, brings with it the sense that new texts have been penned, and new discourses activated. The University of Oregon MFA Art 2022 Exhibition culminates three years of independent research and experimentation by a cohort of eight artists whose various practices engage a broad range of inquiry, from expressions of the personal and diaristic to the examination and fictionalization of history, gender, magical thinking, cinema tropes, and the natural world. Over the last three years these candidates have navigated generational complexities while trying to transform their experiences and transcend the moment. This year marks the 99th year of the University’s MFA degree, making it one of the oldest programs in the country. As the program’s centennial moment approaches, we watch The MFA Graduates of 2022 realize their creative perspectives while challenging their audiences to view the world through a new lens.
Open Access
2021 Spring Storm
(2021) Department of Art, University of Oregon
The School of Art + Design’s annual end-of-year exhibition Spring Storm celebrates the culminating work of our senior students completing degrees in Art, Art & Technology, and Product Design. Engaging a broad range of art and design practices, their work reflects the pluralism of contemporary culture and the dynamism of their curiosity and engagement. We are so proud of all they have discovered as students in Art + Design. All the late nights in the studio, making things work. All of the seemingly impossible problems their faculty posed to them, and the surprising outcomes catalyzed. All of the ways their vision has grown – what became interesting, what became possible, what their own ideas, passions and capabilities are. Spring Storm marks a pivotal moment for our graduating seniors, celebrating their college experience and launching them into lifetime of creative thinking and innovative action.
Open Access
University of Oregon Department of Art MFA Thesis Exhibition Catalog
(University of Oregon, 2021) Department of Art, University of Oregon; Turner, Caroline; Anderson, Claire; DeVaughn, Devon; Evans, Eden V.; Molloy, Ian Sherlock; Ward, Nathan Alexander; Amini, Sajad; Reckling, Tannon
Every spring our graduating MFA candidates’ work emerges and activates the Art Department and the College of Design with an ethos of possibility and insight. Their creative research of new knowledge, or the rearrangement of old knowledge, brings with it the sense that a new day is rising. The 2021 MFA Thesis Exhibition culminates three years of independent research and experimentation by a cohort of eight artists whose various practices engage a broad range of inquiry, from expressions of the personal and diaristic to the examination and fictionalization of language, politics, and technology. While the world teetered this last year—fraught over the COVID-19 pandemic, racial injustice, and political chaos these candidates focused on their practices as the world blurred. They’ve shaped new strategies to teach on-line, built new curriculum to communicate remotely, and cloistered in their studios articulating their practices all the while navigating crisis shared with the nation. As the pandemic ebbs I hope the MFA Graduates of 2021 move forward with a sense of not only a new day rising but a new world emerging.
Open Access
2020 Spring Storm
(2020) Department of Art, University of Oregon
Spring Storm is an annual exhibition celebrating the creative work in art and design by senior students completing degrees in Art, Art & Technology and Product Design. The work and practices of our students exemplify the diversity of 21st century approaches, using traditional and new media to address compelling questions in contemporary culture. This year our senior students completed their studies in the midst of the Covid-19 global pandemic; yet with purpose and resolve, they continued to evolve their creative ideas, make new work, and connect with their community and audience. Spring Storm 2020 is presented as a print catalog and website - a record and celebration of their remarkable creative journeys, ambitions, and readiness to take on new challenges.
Open Access
University of Oregon Department of Art MFA Thesis
(University of Oregon, 2020) Department of Art, University of Oregon; Walot, Doran; Talaei, Elnaz; Zhang, Junwei
Although the University of Oregon has one of the oldest MFA programs in the country, this is the first time in its almost 100-year history that graduating students have not been able to present their work in a public exhibition. Certainly, this is not the way any of us imagined the year would go. Following executive orders in March to shelter in place due to COVID-19, our students were abruptly displaced from their studios, as well as their close-knit community of fellow artists. With the thesis show just weeks away, completing the work required multiple kinds of collaboration, solving unexpected logistical challenges, and working in the absence of their peers during the crucial final weeks. While navigating the dizzying pace of events that followed, this group of artists not only persevered, but they also triumphed. We are proud to present the thesis work of the 2020 MFA class in the pages that follow. Through deep introspection, hours of independent research and faculty critique, and an inspiring commitment to their studio work, each of these artists has developed a rich and complex project. While we cannot all be together in person to celebrate these accomplishments, we are proud to share and honor their projects here, from a distance.
Open Access
2019 Spring Storm
(2019) Department of Art, University of Oregon
Spring Storm is the culminating exhibition for School of Art + Design senior students completing degrees in Art, Art & Technology and Product Design. Synthesizing the work accomplished throughout their studies, each student develops a piece with support from their faculty mentor in the final term. Engaging a broad range of work across art and design, students have not only developed formal, technical, material and critical capabilities, they have also cultivated individual perspectives and practices. Our students are equipped with 21st century approaches - from sculpture, photography, painting, drawing, printmaking, ceramics, fibers, and metalsmithing to interactivity, video, animation, visual communications, and emerging technology to designing objects for use across a broad range of scales and purposes – ready to raise questions, shape experience and solve problems through their work. Spring Storm is a celebration of the diversity of those efforts and ideas across Art + Design, all the catalytic interactions and the individual discoveries made during these seniors’ college careers.
Open Access
University of Oregon Department of Art MFA
(University of Oregon, 2019) Department of Art, University of Oregon; Bjork, Aaron Whitney; Claybrook, Talon; Howell, Leah; Khan, Sumer Haseena; Miller, Daniel; Moignard, Neal; Parnes, Stephanie; Segapeli, Aja; Thompson, Kayla; Vaughn, Jen
The Department of Art at the University of Oregon is pleased to present our 2019 MFA Thesis Exhibition at Disjecta Contemporary Art Center in Portland, Oregon. Marking the culmination of three years of rigorous studio investigation and critical discourse, the ten artists in this exhibition engage a wide breadth of art making practices that build on and challenge the histories of painting, sculpture, photography, print media, craft and digital practices. The exhibition is the outcome of the expansive work undertaken by our graduates and their intellectual curiosity in looking deeply at the conditions prevalent and pressing in our world today. With dramatic shifts in practice over the past three years, this cohort of artists have created a tight-knit community through the exchange of ideas formed by extensive conversations with our nationally and internationally recognized faculty, visiting artists, critics and curators. For this catalog, we bring our MFA Graduates together with the PHD and MA students in the History of Art and Architecture Department to produce written reflections on the creative processes and concepts behind the works of our ten graduating artists. This collaborative initiative, made possible through the stellar organization of Professor Jenny Lin, highlights what we hope to accomplish in our academic and artistic life – gather together around contexts that matter and build connections that expand our subject positions. So, it is with great pride that we celebrate the final work created by our 2019 MFA graduates at the University of Oregon and we look forward to watching and cheering their creative endeavors yet to come.
Open Access
Institute for Community Arts Studies Budget Documents
(2018-08-14)
Open Access
2017-2018 Graduate Student Research Journal
(2018-07) Center for Community Arts & Cultural Policy
Open Access
The Impact of the Oregon Cultural Trust on the Statewide Cultural Policy Institutional Infrastructure
(Center for Community Arts and Cultural Policy, University of Oregon, 2018-06-12) Cummins, Joshua; Fernandez, Milton; Flinspach, Jennie; Hobbs, Brianna; Lambert, Patricia; Lee, Victoria; Rutter, Juliet D.; Sokolowski, Jes; McMullen, Bradford; Rogers, J. K.
Parallel to a similar study commissioned by the Oregon Cultural Trust in 2017-2018, the University of Oregon (UO) Arts and Administration program partnered with senior staff of the Oregon Cultural Trust and the National Assembly of State Arts Agencies on a research project investigating the impact of the Oregon Cultural Trust on the statewide cultural policy institutional infrastructure. These studies were designed to be complementary. Whereas the commissioned study was intended to be advocacy research, the UO research initiative planned a rigorous year-long academic applied research project conducted by a faculty-led team of nine graduate students. Throughout the academic year, the team investigated two main research questions supported by multiple sub-research questions. Research methods included literature review, document analysis, key informant interviews, and surveys. The main research questions were the following: 1. What is the role of the Oregon Cultural Trust within the statewide cultural ecology? 2. How does the Oregon Cultural Trust compare with other state-level cultural funding mechanisms that exist across the United States? Research findings from collective and individual research conducted throughout 2017-2018 were integrated into the full research report. The Professional Project team’s analysis led to structuring the final report in two sections: first, an introduction to the cultural policy infrastructure within the state of Oregon and the evolution of the Oregon Cultural Trust, and second, analysis of the impact of the OCT on the statewide cultural policy institutional infrastructure. The discussion of impact focuses on three areas: (1) impact on the internal infrastructure-development activities taking place within the OCT; (2) impact on select issues pertaining to cultural development across the state; and (3) economic impact.
Open Access
Grow Art: You're in Business
(2018-06-08) Navarro, Sophie
The purpose of this graphic memoir is to show how artists can create a sustainable and viable art business. This guide book offers artist entrepreneurs and designers tools that support the career of an artist. I chose the graphic style to show my work as an example of how I process my own approaches to creating and promoting my work. All illustrations are made by me.
Open Access
The New Museology in Museum Practice in China: A Case Study in Hubei Provincial Museum
(2018-06-07) Lu, Sisi
As one of the major lifelong learning possibilities outside the education system, museums have always been an important venue to the public. Throughout their long history, there has been a major shift in museology from being a collections-centered museum to a visitor-centered museum in recent years. As China develops economically, museums have become greater in number, size, and scope. However, Chinese museums might neglect the importance of the visitor experience. With a framework of new museology and models a new participatory museum, this research project attempts to understand the visitor-centered practice in China through document analysis and a case study of the Hubei Provincial Museum in Hubei, China. This study intends to understand the implementation of theory into practices and offer useful recommendations to the museum professionals in China.
Open Access
How Architectural History Can be Taught in the K-5 Classroom Using Picturebooks
(2018-06-06) Shaw, Jordyn
Architecture, and architectural history, is not typically a focus of art education in the K-5 classroom. In this study I aim to demonstrate how picturebooks can be used as a tool in the K-5 classroom to teach architectural history. This study was modeled after Sipe’s (2001) article Using Picturebooks to Teach Art History. I analysed eighty-six picturebooks based on a specific criteria, choosing books that have been: (1) published or republished in the past 20 years; (2) have a strong narrative quality in text; (3) allude to architecture and have architecture as part of the integral setting; and (4) are set at a K-5 reading level. I arranged the eighty-six books into four types: (1) Tours; (2) Building Practices/Principles; (3) Stories of Architects: Real, Child, or Animal; and (4) the Architecture of Houses and Homes. Within the Tour type, I found three subtypes called the “City Tour,” the “State/Country Tour,” and the “Cross-Country/World Tour” subtypes. I addressed each type and subtype, discussing themes that appeared. In talking about the themes and subtypes, I also address “what can be taught,” giving specific examples of how these themes and subtypes can be used in the classroom. In these sections I discuss the National Core Arts Standards (Standard, 2014) and the National English Language Arts Standards (“English Language Arts Standards,” 2018) that pertain to the subtypes and themes. Lastly I address representations of Medieval architecture in picturebooks. I address a specific time period within architectural history, and discuss what could be taught in the classroom using picturebooks as a resource. Using twelve picturebooks I looked at representations of churches; castles; other buildings; and building principles, practices, and concepts. In these sections I discuss what can be taught along with any inaccuracies and inconsistencies that appear in the picturebooks when compared to current scholarship on the subject.
Open Access
(Mis)representations of History: Displays of Difficult History in Oregon Community Museums
(2018-06-06) Engel, Isabel
In Oregon, the vast majority of community museums are history museums focusing on local history. According to the Oregon Museums Association, of the 58 museums registered with them, 52 of those museums are focused on local and regional history. These museums have largely focused on pioneer history and display how white Europeans settled the land. While this is one aspect of Oregon history, many Oregon community museums fail to display difficult histories, or history that recalls trauma, oppression and/or violence. With current museology focusing on the diversification of exhibits through the inclusion of difficult histories, there is an apparent disconnect between this research and actual practice in Oregon museums. In this research project, I critically analyze visual representations at eleven (11) Oregon community history museums through site observations, document analysis and with three (3) of the museums, through interviews of curators and/or museum directors. I argue that as important sites of history and community outreach, these museums miss opportunities to educate the public and include minorities that have largely been left out of the Oregon narrative.
Open Access
Biculturalism at Otago Museum: A Case Study
(2018-06-06) Underwood, Avery, Wailes Povelite
Otago Museum in Dunedin, New Zealand, is an institution in the beginning stages of a museum-wide shift towards biculturalism. Presently, the Museum largely operates under a western museology, and the shift to biculturalism means not only are objects and content interpreted in the traditional western style, but also with respect to the worldview and with the authority of the indigenous Māori people of New Zealand. A bicultural museum model decolonizes the museum institution by giving authority and agency back to indigenous peoples, creating a more comprehensive and inclusive museum. Approaching this research project with a framework of biculturalism and bicultural practices as detailed by Conal McCarthy in his 2011 Museums and Māori , this research intends to detail and better understand the current and future bicultural practices of Otago Museum through interviews with key staff members, observations of Otago Museum spaces, and analysis of the Museum’s documents. This research aims to provide a better understanding of the Museum’s bicultural practices and shift with the hope that the findings provide useful lessons for museums in the rest of New Zealand and the world.
Open Access
Major American Symphony Orchestras and the Fundraising Gala
(2018-06-06) Bayouk, Alexa
Virtually every large symphony orchestra holds a fundraising gala. Formal events like these are costly in terms of both time and monetary resources, yet they yield a relatively small profit when compared to direct solicitations for funds. Nevertheless, special events serve important purposes beyond fundraising, like stewardship, networking, and prospecting, so they are worth the time and energy for most organizations. This research project looks at the galas of 10 symphony orchestras in the United States (nine of which have budgets over $20 million) and compares the use of various gala components, dollars raised, and staff perceptions. The purposes of this study are to 1) gain a better understanding of which gala elements contribute to the event’s success, 2) find other gala purposes and ways to measure a gala’s success beyond just fundraising, and 3) discover the unique ways that symphony orchestras are utilizing the gala model in comparison to non-performing arts nonprofits. This master’s project culminates in six major recommendations as well as a Symphony Orchestra Gala Planning Toolkit, which includes timelines, checklists, and evaluation forms.
Open Access
Activating Place Identity: Programmatic Shifts in the Outdoor, Public Spaces of Downtown Eugene
(2018-06) Schenter, Melissa
This study examines the City of Eugene’s adoption of creative placemaking practices in an effort to positively alter the identity of its Downtown- focusing on the resultant shifts in programming methods, and on the complex role of artistic producers within it’s outdoor, public spaces. Recognizing “place identity” as existing in the combination of both tangible and intangible elements, this project applies a framework of performance theory to analyse the “mechanisms of action” which work to normalize behaviors within physical spaces, thus influencing perceptions of place. Based largely on 15, semi-structured interviews with City programmers and community arts leaders, the findings of this project focus predominantly on the concept of “activations”- an emergent style of arts programming born from the creative placemaking movement, and inspired in Eugene by the 2016 Downtown Assessment conducted by the Project for Public Spaces (PPS). Interviewees differentiated activation programming from event programming, describing the former as being more ambient, ongoing, inclusive, and as creating a greater link between the arts and city infrastructure. Importantly, activations provide more varied modes of engagement, and have the potential to more subtly influence behavior patterns over time. Through these interviews, it became apparent that current city infrastructure struggles to support artistic activities. However, Eugene has adopted strategic partnership models to work towards addressing downtown’s identity crisis, which involve intentional arts programming. Following the work of PPS, the Mayor, City Council, and leaders across various City department pulled together a diverse team of city staff to form the “Downtown Operations Team.” As a result, arts programmers voices have been brought to the table in strategic, downtown revitalization efforts, allowing them to work alongside leaders in areas such as Facilities, Transportation Options, and Planning & Development. Through these collaborations, City programmers and arts leaders have adopted a necessary sensitivity in their work, in order to complement the efforts of social services and public safety providers. The conclusion of this research argues that the City of Eugene’s shift towards activation programming is a move in the right direction. Because activations are more accessible to differing populations, and more conscious to the various entities working within these public spaces, they could be especially useful for addressing the current needs of Downtown Eugene. To sustain this type of programming, however, more flexible public spaces are needed. Additionally, because activations require strong links between artists and city infrastructure, continued strategic collaborations, such as the City’s “Downtown Operations Team”, are a necessity- with City divisions such as Cultural Services and Planning & Development acting as leading intermediaries. Ultimately, these programmatic shifts will help to introduce new levels of sociability to these spaces, and increase Downtown Eugene’s ability to act as a civic heart to the community.
Open Access
Engaging Under-Represented Communities: A Comparative Analysis of Professional Symphony Orchestras
(2018-06) Wagner-Watt, Lauren
This Master’s Research Project looked into the various ways that professional symphony orchestras are engaging with their community, specifically with under-represented populations. The paper begins with an overview of the American symphony orchestra, and clarifying why it is now needing to engage more with its community rather than only performing concerts. The research also presents various literature reviews and comparative analyses that shed light on what is currently being offered by symphony orchestras around the country, including an indepth exploration of community engagement and education programming around the country. The study then focuses on comparative case studies highlighting the programs and populations being served by the Seattle Symphony, Oregon Symphony, Eugene Symphony and the Boise Philharmonic. This project found that there is a wide variety of programming for underrepresented populations and is usually specific to the community that the symphony represents. A major focus among professional symphony orchestras is centered around diversity, equity and inclusion, with many looking to develop initiatives within the entire organization.
Open Access
Visitor Reception in Collaborative Museum Exhibits
(2018-06) Schmith, Erin
As museums seek ways to attract wider audiences and increase their relevance to more people, collaboration with community groups has become common practice. Museums are using multiple models for these collaborations, which often include working with people whose perspective has traditionally been left out of the mainstream museum narrative. While many studies on these processes have been conducted, very few focus on visitor reception of information about the process of collaboration that went into the exhibit. Those studies that do exist show that the visiting public is unaware of this work and therefore a key opportunity to engage the public around issues of decolonization, legitimizing worldviews outside of the mainstream narrative, and democratization of museum processes is lost. This project focuses on collaboratively designed exhibits at the Portland Art Museum and is an examination of the processes involved, how the museum is communicating with visitors about their collaborations, and whether those communications are effective.