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by Rowan Johnson
SOU Class of 2025, Creative Writing

Dear Museum Patrons,

As the winter term at SOU comes to an end, the museum will be closed for an exhibition change from March 20th to April 6th. Inside the Museum will also be taking a break during this time. Thank you for your support of Inside the Museum and the Schneider Museum of Art and we hope to see you at the opening on April 7th from 5 to 7pm for the Spring Exhibition The Presence of Nature.
Julie Mehretu, "Untitled", 2006, Graphite, watercolor and ink on paper. On display at the Schneider Museum of Art.

Julie Mehretu

Ethiopian born American artist Julie Mehretu is most well known for her contemporary graphite works. These pieces often use graphite, pigment, ink, and watercolor to add dimension and create a perfect balance of thick, dark lines and faint splashes of color. Blending techniques from architectural design with art techniques like mapping and graphing, Mehretu’s work reminds us that all drawing disciplines can find a middle ground in beautiful and skillful creation. Learn more about Mehretu and her work in the link below and see her piece Untitled (2006) in the Schneider Museum of Art’s Entry Gallery today. 

http://www.artnet.com/artists/julie-mehretu/ 

Image sourced from politicalviolenceataglance.org

Art and War

Art and war have always been intertwined. As art is used as a way to control a narrative or oppose public opinion, art during times of turmoil can be used as a tool or a weapon. From gaining public support to healing the aftereffects, art is used in all stages of war. Learn more about the five ways war and art intersect and see an example of art being used to spread awareness on the Afghan war at the Schneider Museum of Art with Mariam Ghani’s exhibition Partial Reconstructions.

https://politicalviolenceataglance.org/2018/01/05/five-ways-art-and-war-are-related/

Claire Burbridge, "Morphic Resonance", natural pigment, watercolor, ink, and sodium crystals on cotton rag watercolor paper. From the Schneider Museum of Art's Spring 2022 The Presence of Nature Exhibition.

The Art of Nature

From sunsets to the leaves in fall, vibrant colors, eccentric wildlife, and geometric patterns found out in the world have been a point of awe. The natural beauty of the land has been used for inspiration to art since the beginning of humanity. With modern innovation, this fascination with nature can be explored, manipulated, and captured with an ease never seen before. Learn more about the art being created with nature and get ready for the Schneider Museum of Art’s next exhibition The Presence of Nature on view starting April 7th.  

https://www.huffpost.com/entry/creating-connections-withland-art_b_4833677 

 

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The Schneider Museum of Art is located within the ancestral homelands of the Shasta, Takelma, and Latgawa peoples who lived here since time immemorial. These Tribes were displaced during rapid Euro-American colonization, the Gold Rush, and armed conflict between 1851 and 1856. In the 1850s, discovery of gold and settlement brought thousands of Euro-Americans to their lands, leading to warfare, epidemics, starvation, and villages being burned. In 1853 the first of several treaties were signed, confederating these Tribes and others together – who would then be referred to as the Rogue River Tribe. These treaties ceded most of their homelands to the United States, and in return they were guaranteed a permanent homeland reserved for them. At the end of the Rogue River Wars in 1856, these Tribes and many other Tribes from western Oregon were removed to the Siletz Reservation and the Grand Ronde Reservation. Today, the Confederated Tribes of Grand Ronde Community of Oregon (https://www.grandronde.org) and the Confederated Tribes of Siletz Indians (http://www.ctsi.nsn.us/) are living descendants of the Takelma, Shasta, and Latgawa peoples of this area. We encourage you to learn about the land you reside on, and to join us in advocating for the inherent sovereignty of Indigenous people.
Copyright © 2018 Schneider Museum of Art, All rights reserved.

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