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by Rowan Johnson
SOU Class of 2025, Creative Writing
Hi Readers! We’ll be closed May 15–17 to prepare for our bi-annual Museum Gala, which helps raise funds for 10 student positions like mine each year at the Schneider Museum of Art. A gift of any amount can help support students like me in gaining hands-on experience, building confidence, and finding a path into the arts. This job has been life-changing for me, and I’m so grateful for your support in helping others discover their passion too. If you have enjoyed reading the student-written Inside the Museum and are able to, please consider donating today.

https://giving.sou.edu/sma/donate/

Allan McCollum, DRAMATIC SCHOOL: THE UNCREDITED Collection of Nine Digital Photos from vintage movie DVDs, 1982-84, Ektacolor print, unique, courtesy of Petzel Gallery

Allan McCollum

Multidisciplinary artist Allan McCollum is most known for his large-scale installations made of many small objects. Due to his background in trade school, management, and industrial kitchen work, McCollum uses a creatively democratic process while engaging with local craftspeople and workers to bring his work to life. In his piece DRAMATIC SCHOOL: THE UNCREDITED Collection of Mime Digital Photos from vintage movie DVDs, McCollum blurs screenshots from his late father’s uncredited set designs. Each photograph is then framed and arranged. The black and white photos have a haunting quality to them. The blur of the figures in the images plays into ideas of anonymity and missing identity, but allows for viewers to create their own narratives. Learn more about Allan McCollum with the link below, and find  DRAMATIC SCHOOL: THE UNCREDITED Collection of Mime Digital Photos from vintage movie DVDs in the Heiter Gallery of the Schneider Museum of Art.

https://art21.org/artist/allan-mccollum/

Peggy Ahwesh, The Fallen (video), 2024, single-channel video, color, sound (5:24 minutes), courtesy of the artist

Peggy Ahwesh

From scripted documentaries to soundless, improvised performances, Ahwesh uses digital animation, found footage, and low-end technologies to bring her creations to life. Her start in the 1970s punk scene is still found in the DIY feminist nature of her current work. Her exploration of traditionally feminine spheres and the mundane individual is often juxtaposed with elements of the absurd and surreal. In this space, Ahwesh makes pointed commentary on society while not telling viewers exactly what to think. Her films Martina's Playhouse (1989), The Deadman (made with Keith Sanborn, 1989), Strange Weather (1993), and Nocturne (1998) are all part of the MOMA’s permanent collection. Her video The Fallen can be found in the Treehaven Gallery in the Schneider Museum of Art. It should be noted that the film is not suitable for those with photosensitivity and seizures. Learn more about Peggy Ahwesh and her work with the link below.

https://www.gf.org/fellows/peggy-ahwesh/

(left) Anoka Faruqee and David Driscoll, 2021P-04, 2024, acrylic on linen on panel, courtesy of the artists (right) Anoka Faruqee and David Driscoll, 2021P-25, 2021, Acrylic on linen on panel Courtesy of the artists, Installation Shot by Ezra Marcos

Moiré

Moiré started as a kind of textile that was made of silk. To make it, craftsmen would press two silk sheets against each other while wet. The pressure and moisture made the strands of silk shift slightly. When it dried, the silk strands dried at varying distances, giving the illusion of rippling fabric. The water-like finish captured designers' attention. While they worked with the fabric, artists began to try to mimic the effect in a two-dimensional sphere. This is where mathematicians and physicists stepped in. They figured out that slightly offsetting some of the lines and utilizing negative space led to a similar effect because of the distribution of light particles. Artists Anoka Faruqee and David Driscoll play with this effect and go a step further by adding color into their blank space. The overlapping spirals against a gradient background create a shimmering effect like a vinyl record. Find a fun moiré project in the link below, and see Faruqee and Driscoll's works in the Heiter Gallery of the Schneider Museum of Art.

https://www.exploratorium.edu/snacks/moire-patterns

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From the Archive
(VIDEO) Creative Industries Discussion: Louise Mandumbwa
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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.
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