A silkscreen print with a black background and Indigenous-inspired design.

Indigenous Matrix: Northwest Women Printmakers

Delight in the bold graphics and striking colors of Northwest Native silkscreen prints with this installation of contemporary works by Indigenous women. his installation brings to light the unique contributions of several women artists whose imagery divulges personal experiences, complex mythologies, and unfettered expression, pushing styles and subjects into new directions that continue to inspire a new generation of Native artists.

Bright blue color on a bumpy and tubular sculpture is covered in white, snow-like glaze with colored tubes jutting out.

2022 PNCA MFA Thesis Exhibition

The Center for Contemporary Art and Culture, Hallie Ford School of Graduate Studies and PNCA at Willamette University are pleased to present the 2022 Thesis Exhibitions displaying the culminating projects of both Undergraduate and Graduate students. Opening to the public May 26th, 2022 and running through June 12th, 2022. Gallery hours 12-4pm, Thursday – Sunday. Join us for light fare and refreshments on Thursday, June 2nd from 5-8pm at all locations as part of the First Thursday Art Walk.

A crowd of migrant workers depicted in soft warm tones of watercolor, walk and gather against a forested background above a running river.

Jill McLennan: Migration Altered

Jill McLennan’s work moves from local to global focus as she documents the movement of humans and animals around the planet in Migration Altered. McLennan’s paintings address the human impact on the earth through time, traveling back to a place inhabited by indigenous people and looking forward to damaged wetlands being reclaimed by birds.

A nude person stands against a blended, bright background. The body is flush with a gold X shape. The body has cracks along the breast and harsh red lines along the right arm, right thigh, and left shin.

Patricia Vázquez: Ku beeta’al bej ikil a xíimbal (Andando hacemos el camino)

Patricia Vázquez is a multidisciplinary artist originally from the ancient Tenochtitlán, and based in the unceded and occupied lands of the Chinook, Clackamas, Multnomah and other Indigenous peoples. Her new exhibition, Ku beeta’al bej ikil a xíimbal, includes painting, printmaking, video, installation, documentation and participatory projects that illustrate the challenges and joys of becoming an artist.

A concentric yellow orb bursts outward in greyish clouds, yellow smoke and scraggles of black.


Through dynamic material investigations Bourdette mimics the shapes, colors and tactile details of the accretions and erosions of earth’s metamorphosis.

Abstract sketches of leaves and raindrops converge in the background of this advertisement, reading "Time In-Betwen: Temporal Matter(s)."

Time In-Between: Temporal Matter(s)

Time In-Between: Temporal Matter(s) is an exemplification of the desire to recreate understanding – understanding of grief, memory, knowledges, vulnerability, sacredness, futurity, and defining one’s self.

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.

A figure, smiling, is slightly blurred in the right of the frame. To the left, a red-washed image of a man looking upward glitches into view.

Nobody’s Fool

The title, Nobody’s Fool, is respectfully borrowed from the poem Resolution #1003 by June Jordan.