by Alison Knowles: A Retrospective (1960–2022)

Best known as a core member of Fluxus, the avant-garde art group founded in 1962, Alison Knowles has created groundbreaking experiments that have influenced contemporary art and artists for over fifty years. This is the first comprehensive exhibition of her work, spanning the entire breadth of her still-active career, from her intermedia works of the 1960s to participatory and relational art from the 2000s.

The threads of a woven, black and white art piece fray at the bottom—the image of which is multiple black men raising their fists.

Black Lives Matter Artist Grant Exhibition

Through installation, photography, video, painting, performance, textiles, sculpture, poetry, and printmaking, this exhibition is a microcosm of allied and conflicting political, social, and aesthetic approaches.

On two white panels, knots and tangles of orange, yellow, black and hints of blue are arranged in two clusters that nearly mirror each other.

Joan Mitchell

Joan Mitchell will be a comprehensive retrospective featuring approximately 80 distinguished works.

In monochromatic, soft pink hues, curtains that drape over a corner window haunt the background of this extremely faded and washed photograph.

Architecture of Dreams

Eugene Contemporary Art is proud to present Architecture of Dreams, a group exhibition that draws on surrealism as a mode of art making in response to everyday life.

Colorful collage made of cut paper, using curved lines and circular, two-dimensional, geometric shapes to invigorate a stripped, layered, cacophonous sense of motion and sound. Bright yellows, cool blacks, and subtle accents of red and blue enwrap this piece in boldness and warmth.

Along These Lines

Each featured artist brings their unique perspective to the history of the line and, along these lines, adds to it. 

Photograph of a woman sitting on the ground, her knees held to her chest, gazing into the distance. Behind her on a black, wooden floor, objects such as books, candles, a bottle of Jack Daniels, and a bowl are strewn. In the right-hand corner of the frame, more candles and various artifacts sit atop a table covered in white tablecloth. Just behind the woman, a patterned scarf is draped around the neck of an upright torso of a mannequin.

Anastacia-Reneé: (Don’t be Absurd) Alice in Parts

Anastacia-Reneé’s poetry and performances are an assertion of presence that counteract the erasure of those who have been marginalized by American society. With an unflinching focus on collective liberation, her work is rooted in the Black feminist and womanist traditions, and their intersectional approach to addressing racism, sexism, homophobia, ageism, and class.