Category: Documenting UO History Project

New Faces: Similar Challenges

Anetra Brown 2013, photo courtesy of Anetra Brown

This is the sixth of a series of blog posts highlighting the ongoing work of the Documenting UO History Project within the University Archives. A major part of this project is researching and documenting the often untold and hidden histories of the university’s diverse and underrepresented communities. This year our focus will continue to highlight Black history on campus, specifically Black student activism from the 1960s to present. Prior posts can be seen here.

“It was the first time I noticed that being a black woman was going to be different here (Eugene).”

–Anetra Brown

2015 Oregon graduate and Black Student Union member Anetra Brown has remained in Eugene since graduation and has stayed connected with the University of Oregon through organizations like the Black Alumni Network, a group that has helped Brown feel more at home in Eugene. Anetra came to Eugene in September of 2011 to run on the track and field team, but academics were always her primary focus. Brown was born in San Francisco and moved to Indianapolis when she was 10. Upon her arrival to Eugene, Oregon’s lack of racial diversity was glaring. Although she describes the community as friendly, Brown says the feeling of isolation was undeniable. Through a recent oral history interview with Anetra for this project, this post highlights her specific experience at the University of Oregon and explores her reasons for choosing to remain in Eugene after graduation.

Brown said, “Living in the dorms was not the best experience, because I had a hard time finding girls I could relate to. It was the first time I noticed that being a black woman was going to be different here. Even things like hair — when I straightened my hair or even not washing my hair every day – and having to explain to roommates why I did that. It was the first time in my life where I felt different. I felt like I had to explain each thing I did. Or even not trying to come off as too aggressive in fear of being portrayed as the ‘angry black girl.’”

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Bringing Persia to the Pacific Northwest

This is the third of a series of blog posts that will explore exhibits during the 1960s at the Museum of Art at the University of Oregon, known today as the Jordan Schnitzer Museum of Art. Part of the Documenting UO History Project, this series will investigate two major types of exhibits: the Statewide Services Program and national exhibits that traveled to the Museum. The University Archives collection of the Museum’s records, cross referenced with the Jordan Schnitzer’s current holdings, reveal a unique institutional history of the Museum, its exhibits, and its employees. Though the Jordan Schnitzer’s current focus is on Asian art, and the Museum of Art also worked to complement its Asian collection, this project will focus on a variety of other kinds of exhibit subjects. See previous posts here.

What is the longest distance art has traveled to arrive in Eugene? Art pieces from modern-day Iran and India certainly fit the bill! The Portland Art Museum showed an exhibition of Persian and Indian miniature paintings in November 1963. This group of pieces from famed American collector Edwin Binney traveled up and down the West Coast, and they visited the Museum of Art at the University of Oregon at the end of 1963.

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President Clark: Contentious Times

President Clark meeting with students 1970, University Photographs, UA Ref 3, Oregon Digital Archive

This is the fifth of a series of blog posts highlighting the ongoing work of the Documenting UO History Project within the University Archives. A major part of this project is researching and documenting the often untold and hidden histories of the university’s diverse and underrepresented communities. This year our focus will continue to highlight Black history on campus, specifically Black student activism from the 1960s to present. Prior posts can be seen here.

President Robert D. Clark began his tenure at Oregon in 1969 and remained president until 1975. As far as students were concerned, Clark had large shoes to fill as the replacement to President Flemming, who had been incredibly popular with students from all walks of life and who especially championed the rights of minority students. Fortunately for Oregon students, President Clark came into the job with a wealth of experience, and was known as a progressive administrator. Prior to his presidential tenure at the University of Oregon, Clark served as the President of San Jose State University from 1964 to 1969. Students and faculty appreciated Clark’s ardent defense of civil rights issues, which included his unwavering support of Olympians John Carlos and Tommie Smith. This post will explore Clark’s relationship with student activists in his first years at the University of Oregon.

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Drama at the Museum!

Mrs. Leslie Carter as Jeanne in “Du Barry.” Image from “A Portrait History of American Acting” an exhibit from the Hoblitzelle Theatre Arts Library, The Humanities Research Center, The University of Texas.

This is the second of a series of blog posts that will explore exhibits during the 1960s at the Museum of Art at the University of Oregon, known today as the Jordan Schnitzer Museum of Art. Part of the Documenting UO History Project, this series will investigate two major types of exhibits: the Statewide Services Program and national exhibits that traveled to the Museum. The University Archives collection of the Museum’s records, cross referenced with the Jordan Schnitzer’s current holdings, reveal a unique institutional history of the Museum, its exhibits, and its employees. Though the Jordan Schnitzer’s current focus is on Asian art, and the Museum of Art also worked to complement its Asian collection, this project will focus on a variety of other kinds of exhibit subjects. See previous posts here.

Have you ever worked on a group project where no one’s role was completely clear? Institutions often have this challenge too; similar kinds of collaboration and communication needs to happen between all parties. For example, the American Educational Theatre Association (AETA) decided to hold its annual conference on the UO campus in August of 1962, and they coordinated the conference themes with art exhibits. AETA program managers worked with the Museum of Art’s employees to display theatrical art during the conference. They encountered many ups and downs along the way. The Museum of Art hosted several exhibitions for the AETA in their galleries. One of these was a large exhibit called “A Portrait History of American Acting,” and this post will explain some of the challenges involved in displaying it at the Museum of Art.

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“One for the Gallery; Two for the Show:” The Statewide Services Program at the Museum of Art

A circulating exhibit from the University of Oregon Museum of Art is prepared to be transported by truck. “Survey of the Arts in Oregon, 1967”. Governors Planning Council on the Arts and Humanities, page 10, box 37, folder 64, JSMA records, UA 120, UO Special Collections and University Archives.

This is the first of a series of blog posts that will explore exhibits during the 1960s at the Museum of Art at the University of Oregon, known today as the Jordan Schnitzer Museum of Art.  As part of the Documenting UO History Project, this series will investigate three major types of exhibits: the Statewide Services Program, national exhibits that traveled to the Museum, and international exhibits that the Museum displayed. The University Archives collection of the Museum’s records, cross referenced with the Jordan Schnitzer’s current holdings, reveal a unique institutional history of the Museum, its exhibits, and its employees. Though the Jordan Schnitzer’s current focus is on Asian art, this project will focus on a variety of other kinds of exhibit subjects.

Did you know that art doesn’t sit still? Museums are always on the move. Pieces of art and large exhibits often travel around to different regions so that large numbers of people can see them. Because art means different things to each viewer, it is important to make art freely available to the public. The Museum of Art at the University of Oregon began to circulate exhibitions free of charge through its Statewide Services program in 1965. It could do so through the Friends of the Museum, which helped with the financial backing of the program. Statewide Services coordinator Dennis Gould and Museum employees organized the distribution of traveling exhibits. They also taught community organizations how best to use the exhibits in their regions. This blog post will highlight the methods the Museum used to circulate their art in the state of Oregon.

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