EDITOR’S NOTE: Photo and interview opportunities are available. For information, call Kaci Manning, (541) 346-0942.

EUGENE–The University of Oregon Museum of Art will publicly dedicate its newly renovated and restored Japanese art wing on Friday, Feb 12. A free public reception will take place from 5—7 p.m. that evening.

The Fay Boyer Preble and Virginia Cooke Murphy Wing of Japanese Art consists of two galleries located directly adjacent to the Throne Room. The UO museum has completely refurbished the galleries from top to bottom, adding new paint, upgrading the lighting, restoring woodwork and installing new flooring. The project included adding custom-designed casework and platforms.

A single donation by an anonymous donor made the renovation work possible.

The Japanese galleries renovation follows the restoration of the museum’s lobby and five other galleries, the most recent being the Throne Room.

David Robertson, UO art museum director, says the public now has access to a first-rate installation and design of the UO Museum of Art’s significant Japanese collections, thanks to the support of and influence from the Museum of Art Facilities Committee, chaired by designer and museum board member Jo Courtemanche.

Others playing an influential role in revitalizing the Japanese art wing were the Seattle Art Museum as well as UO Museum of Art staff members Kurt Neugebauer, exhibition designer, and Charles Lachman, associate curator of Asian art.

Neugebauer explains the concept of the wing’s renovation.

"Cosmetically, we duplicated our successes of the Throne Room by repairing walls, painting and faux finishing the ornate plaster ceiling detail, installing new carpet to safely cover the historically significant cork floors and adding a new lighting system to emulate muted daylight."

Lachman supervised selection of the artworks for display in the galleries.

Because the first gallery’s low ceilings and natural walnut wood accents created a natural feeling of intimacy, Lachman said he decided to devote it primarily to exhibiting the museum’s substantial and important Japanese prints collections. The works comprising the initial rotation illustrate various formats and techniques used in traditional woodblock prints, or ukiuo-e, as well as important literary and historical themes.

Lachman chose an eclectic selection of objects from the collection of Gertrude Bass Warner to feature in the second gallery. Ranging from ceramics, lacquerware and metalwork to hanging scrolls, painted screens, sculpture and textiles, he has displayed the objects in a variety of custom cases that accent the enormous height of the room. An existing alcove transformed into a Buddha alter, displays three intricately carved Buddhas finished in gold leaf and a large painting commemorating the death of Buddha.

"The focus is on the interaction between indigenous Japanese artistic traditions and foreign designs and motifs–especially those connected with Buddhism–that were imported to Japan from China," Neugebauer says. The design challenge in any important museum setting, he explains, is to create a provocative but safe environment in which to house the art without its surroundings competing with the objects’ intrinsic integrity and beauty.

During a recent visit to the museum, Masamitsu Mizuno, director of the Edo-Tokyo Museum, was impressed with the exhibition.

"Every display within the rooms is in harmony," he said. "I am happy to learn that many Americans like Japanese history."

The much anticipated opening of the galleries is an exciting moment for faculty and students at the university, Robertson says, because art history and Asian studies students now have a space devoted specifically to their studies.

Cynthea Bogel, assistant professor of Japanese art and architecture, says she enjoyed watching the evolution of the gallery design.

"I use the collections for nearly all of my classes," Bogel explains. "I am lucky because the museum’s collections are strong in Japanese art. I believe firmly in the positive role of museum study and first-hand observation of art works in art history training."

The UO Museum of Art, accessible to people with disabilities, is open from noon to 8 p.m. Wednesday and from noon to 5 p.m. Thursday through Sunday. Suggested admission is $3, except on Wednesdays when the MusEvenings! program offers free extended viewing hours from 5—8 p.m. Museum members, students, UO employees and children are admitted free.

The museum is supported in part by grants from the Frances A. Staten Fund of The Oregon Community Foundation, the Oregon Arts Commission and the National Endowment for the Arts.

For information, browse http://uoma.uoregon.edu/ or call (541) 346-3027.

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