Barmuda Triangle
There are a number of bars for dancing and drinking in the Barmuda Triangle between Willamette and Olive between 10th and 8th. Take EMX to Eugene Station and walk North along Olive.Movies within walking distance of campus
Movies accessible by EMX
Live Theater accessible by EMX
Daily events
- Sunday, June 22, 2025
- Monday, June 23, 2025
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6:30PM Wildish Community Theater (via EMX) Free
Oregon Bach Festival On the House: The Laramie Project (2002 Film)
Based on the paradigm-shifting play of the same name, the award-winning film explores the impact of an anti-gay hate crime and murder in a small Wyoming town. Witnessing the power of compassion and love to overcome bigotry. Learn the story. Stay after the film for a panel discussion.
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- Tuesday, June 24, 2025
- Wednesday, June 25, 2025
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5PM - 8PM Museum of Art on campus Free with any University ID
Jordan Schnitzer Museum of Art Ed Drew: Self Portrait in Arkansas
Ed Drew grew up in Brooklyn, New York City and joined the military two days after his 18th birthday and completion of high school. He served six years of active duty in the Air Force as a C-130 jet engine mechanic assigned to an airbase near Tokyo and it was while in Japan he discovered his nascent passion for other cultures and began his journey as an artist.
In 2009 he joined the California Air National Guard and during training as a Combat Search and Rescue helicopter gunner he also attended San Francisco Art Institute, receiving a BFA in Sculpture with a minor in Photography. Deploying to Afghanistan in the spring of 2013, he created his first major body of work there by using a large-format camera to capture tintype portraits of fellow soldiers in an active combat zone. Many of those unique images are now part of the permanent collection in the Smithsonian American History Museum.
After his discharge from service in Afghanistan, Drew relocated to Little Rock, Arkansas to be with his extended family and relates his story of the making of Self Portrait in Arkansas:
Initially I created this body of work to address my longing to return to uniform, to regain my identity, after ending my military contract to be a stay-at-home parent. Having relocated to Arkansas, a heavily forested southern state, I often found myself hiking in the woods, introspectively reflecting on my past and America's past.
For the series I employed a field view-camera, reminiscent of older style cameras that required a pneumatic bulb to trip the shutter. I purposefully showed the device’s cord to indicate that the image was being made by my own hand. While alone in the woods I often carried a gun in my belt. My identity as a veteran, and living in the South, often made me consider the historical relevance of my actions.
Barefoot in each photograph, I am aware that my feet stand possibly in the very same place where my racial ancestors may have hidden, trying to escape to freedom. I do this to connect to them, as most slaves were barefoot. I imagine running barefoot through these woods, away from the overseers in charge of keeping the slaves in line and capturing the runaways. I want to feel the pain and the contrast of soft earth, the leaves, rocks, and dirt. I want that connection to the ground where my ancestors were worked, murdered, and buried. I am reconciling the history of the South and what being in the forests as a black person means historically.
As well as an emblem of strength, my uniform offered me safety. It renders me invisible, camouflaged within the sanctuary of the forest. Why do I fear? This fear has historical precedence. There are many contradictions in fighting for a country's freedoms when that country still, to a point, contends my own race's liberties.
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5PM - 8PM Museum of Art on campus Free with any University ID
Jordan Schnitzer Museum of Art Eclectic Abstraction: From Matta and Miró to Rick Bartow
Eclectic Abstraction: From Matta and Miró to Rick Bartow presents artworks from the JSMA’s collection. It features non-representational artworks as well as figurative work that diverges from naturalism, reflecting not only a tension between forms, but an artistic freedom and independence from style, subject matter, and context. The exhibition offers an intergenerational and transnational perspective, and more than seventy percent of the works have never been exhibited before at the museum. Many of the selected artists lived through turbulent times and experienced World War I, World War II, civil war, wars with foreign countries, and dictatorships, including Joan Miró, Rufino Tamayo, Roberto Matta, Betty Feves, George Johanson, and Rick Bartow. Other artists in the exhibition, such as Ka’ila Farrell-Smith and Emma Kohlmann, have similarly witnessed drastic changes in the global world order.
Oscillating between art and politics, figuration and abstraction, artists in the exhibition subtly champion freedom amidst social turmoil.
As Joan Miró declared, "After the Nazi invasion of France and [Francisco] Franco’s victory [in the Spanish Civil War], I was sure they wouldn’t let me go on painting, that I would only be able to go to the beach and draw in the sand or draw figures with the smoke from my cigarette … I gave the paintings very poetic titles because that was the line I had chosen to take and because the only thing left for me in the world then was poetry."
Denouncing wars, authoritarianism, repression, and social injustice, these artists embraced distinct activist roles both within and outside their fields. As they confronted hopelessness, fear, and anxiety, they joined and supported resistance through artistic means, public speeches, and writings. Their work demonstrates a commitment to free expression and artistic experimentation in the face of uncertainty and repression, whether through whimsical and joyous bodily displays, or in more frightening representations of fragmented bodies that invite reflection on their times, and ours today.
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5PM - 8PM Museum of Art on campus Free with any University ID
Jordan Schnitzer Museum of Art David McCosh: Parallel with Nature
A wide-ranging body of work completed by David McCosh (1903-81) in his Eugene studio, typically in the evenings, came to be known as his "Night Drawings." These exercises on paper were more than simple ink or oil drawings of the specific landscape situations that McCosh keenly observed. Rather, they were opportunities for the artist to challenge his own process of seeing and knowing a familiar subject. He worked freely and intuitively, creating a large number of these works throughout the 1950s and 60s. Imagery ranged from elegant line drawings suggesting branches to energetic tangles of trees and forest floors. Each demonstrates McCosh’s superb command of his materials and the statement by French Post-Impressionist painter Paul Cézanne, an artist whom McCosh frequently referenced in his own philosophy of painting, that "art is a harmony parallel with nature."
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5PM - 8PM Museum of Art on campus Free with any University ID
Jordan Schnitzer Museum of Art Fluid Continuity: Rethinking Korean Art in the Contemporary Age
Fluid Continuity highlights the narrative of pre-modern to present-day Korean art by interrelating six prominent traditional art practices and mediums: celadon ceramics of the Goryeo dynasty (918-1392), buncheong ceramics and white porcelains of the Joseon dynasty (1392-1910), and works created using Korean paper, silk, and wood. The aim of the exhibition is to reenvision Korean art history since the turn of the 20th century (which is often addressed in a linear fashion with a series of divided timeframes) as a continuous multifaceted story comprised of rich cultural heritages and influences and their modern interpretations.
In the Wan Koo & Young Ja Huh Gallery presents a comprehensive exploration of Korean ceramics created in various forms by traditional craftsmen and modern ceramists. Beginning as utilitarian vessels, Korean ceramics evolved over time from the ethereal blue-green glaze of Goryeo-dynasty celadon to the distinctive character of buncheong ware and the refined elegance of white porcelain of the Joseon dynasty. Contemporary artists continue to engage with these materials as mediums for their own artistic investigations. The continuous use of clay in Korea reflects its versatility and endless possibilities for artistic expression.
The Korean paper, silk, and wood sections of the exhibition in the Jin Joo Gallery feature a diverse constellation of objects such as Joseon-dynasty folding screens, costumes, and furniture, as well as contemporary paintings, calligraphy, and multimedia works. Each section presents the artistic and cultural use of a given material, ranging from its production, distribution, craft art, and use during the late Joseon dynasty to its aesthetic adaptation and transformation in the contemporary age. As the late 19th-early 20th century marked a significant transition between tradition and modernization in Korea, the earlier objects offer a rigorous survey of historical and cultural context, whereas the contemporary works provide insight into each artist’s individual practice and philosophy inspired by both Korean and modern cultures.
Fluid Continuity reinterprets Korean art with fresh perspective, creating an aesthetic and conceptual dialogue between premodern and contemporary art within the continuous lineage of materials and culture.
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- Thursday, June 26, 2025
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5PM - 8PM Museum of Natural and Cultural History (between Global Scholars Hall and Law Center on 15th) $6 admission to museum
Museum of Natural and Cultural History Explore Oregon
Experience the dynamic forces that shape Oregon’s landscapes, climate, and ecosystems. Meet giant salmon, Ice Age sloths, and other amazing animals from across the millennia. Through interactive displays and rare specimens, you’ll go deep into Oregon’s past and join a conversation about our collective future.
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5PM - 8PM Museum of Natural and Cultural History (between Global Scholars Hall and Law Center on 15th) $6 admission to museum
Museum of Natural and Cultural History Roots and Resilience—Chinese American Heritage in Oregon
Among the earliest non-Indigenous communities to settle in Oregon, Chinese immigrants made significant contributions to the state's economy and culture, yet their stories have often gone unrecognized. Using archaeological discoveries around the state alongside personal histories, the exhibit sheds light on the experiences of Chinese people, the intense discrimination they faced, and their perseverance in shaping Oregon’s diverse industries, businesses, and communities.
"The history of Chinese immigrants in Oregon reflects the broader American immigrant experience — marked by struggle, resilience, and lasting contributions despite the institutionalized racism they faced," said Todd Braje, executive director of the museum. "At the museum we are honored to share their stories, to learn from their histories, and to contribute to a more welcoming place for all people."
The exhibit traces Chinese American communities across the state, showcasing artifacts recovered from archaeological digs at sites such as the Ah Heng mining site in the Malheur National Forest and a historic shop and restaurant in Eugene. Objects on display highlight the craftsmanship and expertise of Chinese workers who played vital roles in Oregon‘s railroad, mining, and canning industries.
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5PM - 8PM Museum of Natural and Cultural History (between Global Scholars Hall and Law Center on 15th) $6 admission to museum
Museum of Natural and Cultural History Transgressors
An exhibition presenting now and future Indigiqueer ancestors who move beyond boundaries in life and art.
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- Friday, June 27, 2025
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- Lane United FC Men's League vs Ballard FC (soccer) 7PM Civic Park (Walk to Agate & 19th, turn right, walk to 19th & Amazon Parkway, turn right, go one block to 19th & Amazon Parkway) $6-$13
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7:30PM Beall Concert Hall $5 with Student ID
Oregon Bach Festival Beethoven’s First "Akademie"
On April 2, 1800, Beethoven self-produced a benefit "Akademie" concert in Vienna showcasing his talent as both composer and pianist. The program featured his Symphony No. 1 and marked his entry into Vienna’s elite music scene. The evening included works from Beethoven’s predecessors, Mozart, Haydn, and Bach. OBF artistic partner, Jos van Veldhoven, conducts the OBF classical Orchestra and Bewick Academy, side-by-side, in celebration of the 10th anniversary of the OBF Berwick Academy for Historically Informed Performance.
- W.A. Mozart Adagio – Allegro from Symphony No. 39
- J.S. Bach Prelude and Fugue in F Minor, BWV 534
- Beethoven Prelude in F Minor
- Haydn "Auf starkem Fittiche schwinget sich der Adler stolz" from The Creation
- Beethoven Adagio – Allegro con brio from Septet
- Haydn"Holde Gatten, dir zur Seite" from The Creation
- Beethoven Romance No. 2
- Beethoven Symphony No. 1
- Possible Human Origin 7:30PM-9:30PM Public House (Take EMX to Springfield Station. Public House is within one block of Springfield Station. free (21 and over only)
- Daydream Derby 7:30PM Gratitude Brewing (walk West on Franklin, past Hilyard Street, past McDonalds, past Pizza Hut, and turn right on Ferry Street.) free (21 and over only)
- Marcos Silva Quartet 7:30PM The Jazz Station (Take EMX to Eugene Station. Walk North on Olive Street past 10th to Broadway.) $25
- Saturday, June 28, 2025
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- Eugene Pride until 7PM Lane Events Center (board EMX to Eugene Station. Go past Eugene Station to 6th and Monroe. Walk to 13th and Monroe.) $1-$20 donation - $7 entry fee required for After Party
- Lane United FC Women's League vs Tacoma Galaxy (soccer) 7PM Civic Park (Walk to Agate & 19th, turn right, walk to 19th & Amazon Parkway, turn right, go one block to 19th & Amazon Parkway) $6-$13
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6:30PM Hult Center for the Performing Arts (via EMX to Eugene Station, walk North on Willamette Street to 7th) FREE
Oregon Bach Festival Let’s Talk! Considering Matthew Shepard (lecture)
Conductor, composer, and OBF artistic partner Craig Hella Johnson offers a pre-concert talk to enhance your listening experience.
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7:30PM Hult Center for the Performing Arts (via EMX to Eugene Station, walk North on Willamette Street to 7th) $5 with student ID
Oregon Bach Festival Considering Matthew Shepard (multimedia choral and Orchestera performance)
On October 6, 1998, University of Wyoming student Matthew Shepard was kidnapped, beaten, and left to die, in what became an infamous act of brutality, and one of America's most notorious anti-gay hate crimes. Shepard's murder served as a catalyst for legislation that expanded the definition of a hate crime to include sexual orientation. The Grammy-nominated oratorio, composed and conducted by OBF artistic partner Craig Hella Johnson, is an evocative and compassionate musical response to the murder of Matthew Shepard.
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7:30PM Gratitude Brewing (walk West on Franklin, past Hilyard Street, past McDonalds, past Pizza Hut, and turn right on Ferry Street.) $5 with student ID
Lana & the Dirty Dishes
TheDirtyDishes may come and go, but expect to see Aaron Boals on upright bass, Dick Mombell on guitar and harmonica, Gregg Vollstedt on guitar, lap steel and dobro, Andy Mosman on fiddle, and Lana Dishner herself playing guitar and singing. All our gentlemen are fantastic vocalists and carry 3 and 4-part harmonies mighty fine. We always have a real blast playing music for folks, so get ready to roll up your sleeves and dive into some DirtyDishes!
- Sunday, June 29, 2025
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10AM - 5PM Museum of Natural and Cultural History (between Global Scholars Hall and Law Center on 15th) $6 admission to museum
Museum of Natural and Cultural History Explore Oregon
Experience the dynamic forces that shape Oregon’s landscapes, climate, and ecosystems. Meet giant salmon, Ice Age sloths, and other amazing animals from across the millennia. Through interactive displays and rare specimens, you’ll go deep into Oregon’s past and join a conversation about our collective future.
-
10AM - 5PM Museum of Natural and Cultural History (between Global Scholars Hall and Law Center on 15th) $6 admission to museum
Museum of Natural and Cultural History Roots and Resilience—Chinese American Heritage in Oregon
Among the earliest non-Indigenous communities to settle in Oregon, Chinese immigrants made significant contributions to the state's economy and culture, yet their stories have often gone unrecognized. Using archaeological discoveries around the state alongside personal histories, the exhibit sheds light on the experiences of Chinese people, the intense discrimination they faced, and their perseverance in shaping Oregon’s diverse industries, businesses, and communities.
"The history of Chinese immigrants in Oregon reflects the broader American immigrant experience — marked by struggle, resilience, and lasting contributions despite the institutionalized racism they faced," said Todd Braje, executive director of the museum. "At the museum we are honored to share their stories, to learn from their histories, and to contribute to a more welcoming place for all people."
The exhibit traces Chinese American communities across the state, showcasing artifacts recovered from archaeological digs at sites such as the Ah Heng mining site in the Malheur National Forest and a historic shop and restaurant in Eugene. Objects on display highlight the craftsmanship and expertise of Chinese workers who played vital roles in Oregon‘s railroad, mining, and canning industries.
-
10AM - 5PM Museum of Natural and Cultural History (between Global Scholars Hall and Law Center on 15th) $6 admission to museum
Museum of Natural and Cultural History Transgressors
An exhibition presenting now and future Indigiqueer ancestors who move beyond boundaries in life and art.
-
11AM-5PM Museum of Art on campus Free with any University ID
Jordan Schnitzer Museum of Art Ed Drew: Self Portrait in Arkansas
Ed Drew grew up in Brooklyn, New York City and joined the military two days after his 18th birthday and completion of high school. He served six years of active duty in the Air Force as a C-130 jet engine mechanic assigned to an airbase near Tokyo and it was while in Japan he discovered his nascent passion for other cultures and began his journey as an artist.
In 2009 he joined the California Air National Guard and during training as a Combat Search and Rescue helicopter gunner he also attended San Francisco Art Institute, receiving a BFA in Sculpture with a minor in Photography. Deploying to Afghanistan in the spring of 2013, he created his first major body of work there by using a large-format camera to capture tintype portraits of fellow soldiers in an active combat zone. Many of those unique images are now part of the permanent collection in the Smithsonian American History Museum.
After his discharge from service in Afghanistan, Drew relocated to Little Rock, Arkansas to be with his extended family and relates his story of the making of Self Portrait in Arkansas:
Initially I created this body of work to address my longing to return to uniform, to regain my identity, after ending my military contract to be a stay-at-home parent. Having relocated to Arkansas, a heavily forested southern state, I often found myself hiking in the woods, introspectively reflecting on my past and America's past.
For the series I employed a field view-camera, reminiscent of older style cameras that required a pneumatic bulb to trip the shutter. I purposefully showed the device’s cord to indicate that the image was being made by my own hand. While alone in the woods I often carried a gun in my belt. My identity as a veteran, and living in the South, often made me consider the historical relevance of my actions.
Barefoot in each photograph, I am aware that my feet stand possibly in the very same place where my racial ancestors may have hidden, trying to escape to freedom. I do this to connect to them, as most slaves were barefoot. I imagine running barefoot through these woods, away from the overseers in charge of keeping the slaves in line and capturing the runaways. I want to feel the pain and the contrast of soft earth, the leaves, rocks, and dirt. I want that connection to the ground where my ancestors were worked, murdered, and buried. I am reconciling the history of the South and what being in the forests as a black person means historically.
As well as an emblem of strength, my uniform offered me safety. It renders me invisible, camouflaged within the sanctuary of the forest. Why do I fear? This fear has historical precedence. There are many contradictions in fighting for a country's freedoms when that country still, to a point, contends my own race's liberties.
-
11AM-5PM Museum of Art on campus Free with any University ID
Jordan Schnitzer Museum of Art Eclectic Abstraction: From Matta and Miró to Rick Bartow
Eclectic Abstraction: From Matta and Miró to Rick Bartow presents artworks from the JSMA’s collection. It features non-representational artworks as well as figurative work that diverges from naturalism, reflecting not only a tension between forms, but an artistic freedom and independence from style, subject matter, and context. The exhibition offers an intergenerational and transnational perspective, and more than seventy percent of the works have never been exhibited before at the museum. Many of the selected artists lived through turbulent times and experienced World War I, World War II, civil war, wars with foreign countries, and dictatorships, including Joan Miró, Rufino Tamayo, Roberto Matta, Betty Feves, George Johanson, and Rick Bartow. Other artists in the exhibition, such as Ka’ila Farrell-Smith and Emma Kohlmann, have similarly witnessed drastic changes in the global world order.
Oscillating between art and politics, figuration and abstraction, artists in the exhibition subtly champion freedom amidst social turmoil.
As Joan Miró declared, "After the Nazi invasion of France and [Francisco] Franco’s victory [in the Spanish Civil War], I was sure they wouldn’t let me go on painting, that I would only be able to go to the beach and draw in the sand or draw figures with the smoke from my cigarette … I gave the paintings very poetic titles because that was the line I had chosen to take and because the only thing left for me in the world then was poetry."
Denouncing wars, authoritarianism, repression, and social injustice, these artists embraced distinct activist roles both within and outside their fields. As they confronted hopelessness, fear, and anxiety, they joined and supported resistance through artistic means, public speeches, and writings. Their work demonstrates a commitment to free expression and artistic experimentation in the face of uncertainty and repression, whether through whimsical and joyous bodily displays, or in more frightening representations of fragmented bodies that invite reflection on their times, and ours today.
-
11AM-5PM Museum of Art on campus Free with any University ID
Jordan Schnitzer Museum of Art David McCosh: Parallel with Nature
A wide-ranging body of work completed by David McCosh (1903-81) in his Eugene studio, typically in the evenings, came to be known as his "Night Drawings." These exercises on paper were more than simple ink or oil drawings of the specific landscape situations that McCosh keenly observed. Rather, they were opportunities for the artist to challenge his own process of seeing and knowing a familiar subject. He worked freely and intuitively, creating a large number of these works throughout the 1950s and 60s. Imagery ranged from elegant line drawings suggesting branches to energetic tangles of trees and forest floors. Each demonstrates McCosh’s superb command of his materials and the statement by French Post-Impressionist painter Paul Cézanne, an artist whom McCosh frequently referenced in his own philosophy of painting, that "art is a harmony parallel with nature."
-
11AM-5PM Museum of Art on campus Free with any University ID
Jordan Schnitzer Museum of Art Fluid Continuity: Rethinking Korean Art in the Contemporary Age
Fluid Continuity highlights the narrative of pre-modern to present-day Korean art by interrelating six prominent traditional art practices and mediums: celadon ceramics of the Goryeo dynasty (918-1392), buncheong ceramics and white porcelains of the Joseon dynasty (1392-1910), and works created using Korean paper, silk, and wood. The aim of the exhibition is to reenvision Korean art history since the turn of the 20th century (which is often addressed in a linear fashion with a series of divided timeframes) as a continuous multifaceted story comprised of rich cultural heritages and influences and their modern interpretations.
In the Wan Koo & Young Ja Huh Gallery presents a comprehensive exploration of Korean ceramics created in various forms by traditional craftsmen and modern ceramists. Beginning as utilitarian vessels, Korean ceramics evolved over time from the ethereal blue-green glaze of Goryeo-dynasty celadon to the distinctive character of buncheong ware and the refined elegance of white porcelain of the Joseon dynasty. Contemporary artists continue to engage with these materials as mediums for their own artistic investigations. The continuous use of clay in Korea reflects its versatility and endless possibilities for artistic expression.
The Korean paper, silk, and wood sections of the exhibition in the Jin Joo Gallery feature a diverse constellation of objects such as Joseon-dynasty folding screens, costumes, and furniture, as well as contemporary paintings, calligraphy, and multimedia works. Each section presents the artistic and cultural use of a given material, ranging from its production, distribution, craft art, and use during the late Joseon dynasty to its aesthetic adaptation and transformation in the contemporary age. As the late 19th-early 20th century marked a significant transition between tradition and modernization in Korea, the earlier objects offer a rigorous survey of historical and cultural context, whereas the contemporary works provide insight into each artist’s individual practice and philosophy inspired by both Korean and modern cultures.
Fluid Continuity reinterprets Korean art with fresh perspective, creating an aesthetic and conceptual dialogue between premodern and contemporary art within the continuous lineage of materials and culture.
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2:30PM Beall Concert Hall $5 with student ID
Oregon Bach Festival Bach: Brandenburg Concertos, Vol. 1
Bach’s set of six instrumental works composed between 1718 and 1721 showcase his exceptional skill in blending diverse musical textures and styles. Each concerto features unique instrumentation, highlights various solo instruments, and epitomizes the Baroque era’s grandeur and innovation. Volume 1 of the OBF 2025 season includes Concertos 1, 2, and 6, as well as a contemporary concerto from Pulitzer and Grammy winner, Caroline Shaw. Presented in collaboration with Chamber Music Northwest.
- J.S. Bach Brandenburg Concerto No. 1
- J.S. Bach Brandenburg Concerto No. 6
- C. Shaw Concerto for Harpsichord and Strings
- J.S. Bach Brandenburg Concerto No. 2
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6:30PM Beall Concert Hall $5 with student ID
Oregon Bach Festival Bach: Brandenburg Concertos, Vol. 2
Bach’s set of six instrumental works composed between 1718 and 1721 showcase his exceptional skill in blending diverse musical textures and styles. Each concerto features unique instrumentation, highlights various solo instruments, and epitomizes the Baroque era’s grandeur and innovation. Volume 2 of the OBF 2025 season includes Concertos 3, 4, and 5, as well as a contemporary twist on the iconic concertos from "outright sensation," (Los Angeles Times) Gabriella Smith. Presented in collaboration with Chamber Music Northwest.
- J.S. Bach Brandenburg Concerto No. 3
- J.S. Bach Brandenburg Concerto No. 5
- G. Smith Brandenburg Interstices
- J.S. Bach Brandenburg Concerto No. 4
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- Monday, June 30, 2025
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7:30PM Beall Concert Hall $5 with student ID
Oregon Bach Festival Venerated Voices
Five internationally renowned vocal soloists join forces for arias, duets, and ensemble pieces. Enjoy an intimate performance of Bach, the Romantics, quintessential operas, and more.
- Rowan Pierce, soprano
- Clara Osowski, mezzo-soprano
- Ulrike Malotta, alto
- Thomas Hobbs, tenor
- Peter Harvey, bass
- Jonathan Oddie, keyboard
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- Tuesday, July 1, 2025
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6:35PM PK Park (across the river from campus on the pedestrian bridge) $17-$34
Eugene Ems vs Hillsboro Hops (Baseball)
$10 Burger and Brew
Swing by the Eugene Emeralds' $10 Burger & Brew Night, sponsored by Carl's Jr., where you can enjoy the best deal in town: a delicious burger and a cold beer for just $10! Don't miss out on the tastiest Tuesday tradition at every home series this season!
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7:30PM Beall Concert Hall $5 with student ID
Oregon Bach Festival Liederabend with Fleur Barron and Gloria Chien (singing performance)
Grammy-winning mezzo-soprano, Fleur Barron, and Chamber Music Northwest co-artistic director, Gloria Chien, return to OBF for an evening of song and solo piano. Join the powerhouse performers for music from Trenet, Montsalvatge, Mahler, and Robert Schumann, as well as a Bach-inspired Prelude and Fugue from Clara Schumann. Presented in collaboration with Chamber Music Northwest.
C. Schumann Prelude and Fugue No. 2 R. Schumann Selected Lieder Mahler Rückert Lieder Montsalvatge Cinco Canciones Negras Trenet Three Songs
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- Wednesday, July 2, 2025
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6:35PM PK Park (across the river from campus on the pedestrian bridge) $17-$34
Eugene Ems vs Hillsboro Hops (Baseball)
Wild Weenie Wnednesday with Car Giveaway
Get ready for Wild Weenie Wednesdays, where $2 hot dogs are just the beginning! Sponsored by Kiefer Mazda, KMTR, and Nathan's Hot Dogs, enjoy themed games, chaos on AND off the field, and a night of outrageous fun as hot dogs take over the ballpark in the wackiest promotion of the season!
Get ready for a chance to drive away in a new car during the Eugene Emeralds' Car Giveaway Nights, sponsored by Kiefer Mazda! One lucky fan, randomly selected, will win a set of wheels at each of the three giveaways on 7/2, 7/30, and 9/3 - don't miss your shot at this incredible prize!
- Lane United FC Men's League vs Portland Bangers FC (soccer) 7PM Civic Park (Walk to Agate & 19th, turn right, walk to 19th & Amazon Parkway, turn right, go one block to 20th & Amazon Parkway) $6-$13
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5PM - 8PM Museum of Art on campus Free with any University ID
Jordan Schnitzer Museum of Art Ed Drew: Self Portrait in Arkansas
Ed Drew grew up in Brooklyn, New York City and joined the military two days after his 18th birthday and completion of high school. He served six years of active duty in the Air Force as a C-130 jet engine mechanic assigned to an airbase near Tokyo and it was while in Japan he discovered his nascent passion for other cultures and began his journey as an artist.
In 2009 he joined the California Air National Guard and during training as a Combat Search and Rescue helicopter gunner he also attended San Francisco Art Institute, receiving a BFA in Sculpture with a minor in Photography. Deploying to Afghanistan in the spring of 2013, he created his first major body of work there by using a large-format camera to capture tintype portraits of fellow soldiers in an active combat zone. Many of those unique images are now part of the permanent collection in the Smithsonian American History Museum.
After his discharge from service in Afghanistan, Drew relocated to Little Rock, Arkansas to be with his extended family and relates his story of the making of Self Portrait in Arkansas:
Initially I created this body of work to address my longing to return to uniform, to regain my identity, after ending my military contract to be a stay-at-home parent. Having relocated to Arkansas, a heavily forested southern state, I often found myself hiking in the woods, introspectively reflecting on my past and America's past.
For the series I employed a field view-camera, reminiscent of older style cameras that required a pneumatic bulb to trip the shutter. I purposefully showed the device’s cord to indicate that the image was being made by my own hand. While alone in the woods I often carried a gun in my belt. My identity as a veteran, and living in the South, often made me consider the historical relevance of my actions.
Barefoot in each photograph, I am aware that my feet stand possibly in the very same place where my racial ancestors may have hidden, trying to escape to freedom. I do this to connect to them, as most slaves were barefoot. I imagine running barefoot through these woods, away from the overseers in charge of keeping the slaves in line and capturing the runaways. I want to feel the pain and the contrast of soft earth, the leaves, rocks, and dirt. I want that connection to the ground where my ancestors were worked, murdered, and buried. I am reconciling the history of the South and what being in the forests as a black person means historically.
As well as an emblem of strength, my uniform offered me safety. It renders me invisible, camouflaged within the sanctuary of the forest. Why do I fear? This fear has historical precedence. There are many contradictions in fighting for a country's freedoms when that country still, to a point, contends my own race's liberties.
-
5PM - 8PM Museum of Art on campus Free with any University ID
Jordan Schnitzer Museum of Art Eclectic Abstraction: From Matta and Miró to Rick Bartow
Eclectic Abstraction: From Matta and Miró to Rick Bartow presents artworks from the JSMA’s collection. It features non-representational artworks as well as figurative work that diverges from naturalism, reflecting not only a tension between forms, but an artistic freedom and independence from style, subject matter, and context. The exhibition offers an intergenerational and transnational perspective, and more than seventy percent of the works have never been exhibited before at the museum. Many of the selected artists lived through turbulent times and experienced World War I, World War II, civil war, wars with foreign countries, and dictatorships, including Joan Miró, Rufino Tamayo, Roberto Matta, Betty Feves, George Johanson, and Rick Bartow. Other artists in the exhibition, such as Ka’ila Farrell-Smith and Emma Kohlmann, have similarly witnessed drastic changes in the global world order.
Oscillating between art and politics, figuration and abstraction, artists in the exhibition subtly champion freedom amidst social turmoil.
As Joan Miró declared, "After the Nazi invasion of France and [Francisco] Franco’s victory [in the Spanish Civil War], I was sure they wouldn’t let me go on painting, that I would only be able to go to the beach and draw in the sand or draw figures with the smoke from my cigarette … I gave the paintings very poetic titles because that was the line I had chosen to take and because the only thing left for me in the world then was poetry."
Denouncing wars, authoritarianism, repression, and social injustice, these artists embraced distinct activist roles both within and outside their fields. As they confronted hopelessness, fear, and anxiety, they joined and supported resistance through artistic means, public speeches, and writings. Their work demonstrates a commitment to free expression and artistic experimentation in the face of uncertainty and repression, whether through whimsical and joyous bodily displays, or in more frightening representations of fragmented bodies that invite reflection on their times, and ours today.
-
5PM - 8PM Museum of Art on campus Free with any University ID
Jordan Schnitzer Museum of Art David McCosh: Parallel with Nature
A wide-ranging body of work completed by David McCosh (1903-81) in his Eugene studio, typically in the evenings, came to be known as his "Night Drawings." These exercises on paper were more than simple ink or oil drawings of the specific landscape situations that McCosh keenly observed. Rather, they were opportunities for the artist to challenge his own process of seeing and knowing a familiar subject. He worked freely and intuitively, creating a large number of these works throughout the 1950s and 60s. Imagery ranged from elegant line drawings suggesting branches to energetic tangles of trees and forest floors. Each demonstrates McCosh’s superb command of his materials and the statement by French Post-Impressionist painter Paul Cézanne, an artist whom McCosh frequently referenced in his own philosophy of painting, that "art is a harmony parallel with nature."
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5PM - 8PM Museum of Art on campus Free with any University ID
Jordan Schnitzer Museum of Art Fluid Continuity: Rethinking Korean Art in the Contemporary Age
Fluid Continuity highlights the narrative of pre-modern to present-day Korean art by interrelating six prominent traditional art practices and mediums: celadon ceramics of the Goryeo dynasty (918-1392), buncheong ceramics and white porcelains of the Joseon dynasty (1392-1910), and works created using Korean paper, silk, and wood. The aim of the exhibition is to reenvision Korean art history since the turn of the 20th century (which is often addressed in a linear fashion with a series of divided timeframes) as a continuous multifaceted story comprised of rich cultural heritages and influences and their modern interpretations.
In the Wan Koo & Young Ja Huh Gallery presents a comprehensive exploration of Korean ceramics created in various forms by traditional craftsmen and modern ceramists. Beginning as utilitarian vessels, Korean ceramics evolved over time from the ethereal blue-green glaze of Goryeo-dynasty celadon to the distinctive character of buncheong ware and the refined elegance of white porcelain of the Joseon dynasty. Contemporary artists continue to engage with these materials as mediums for their own artistic investigations. The continuous use of clay in Korea reflects its versatility and endless possibilities for artistic expression.
The Korean paper, silk, and wood sections of the exhibition in the Jin Joo Gallery feature a diverse constellation of objects such as Joseon-dynasty folding screens, costumes, and furniture, as well as contemporary paintings, calligraphy, and multimedia works. Each section presents the artistic and cultural use of a given material, ranging from its production, distribution, craft art, and use during the late Joseon dynasty to its aesthetic adaptation and transformation in the contemporary age. As the late 19th-early 20th century marked a significant transition between tradition and modernization in Korea, the earlier objects offer a rigorous survey of historical and cultural context, whereas the contemporary works provide insight into each artist’s individual practice and philosophy inspired by both Korean and modern cultures.
Fluid Continuity reinterprets Korean art with fresh perspective, creating an aesthetic and conceptual dialogue between premodern and contemporary art within the continuous lineage of materials and culture.
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- Thursday, July 3, 2025
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6:35PM PK Park (across the river from campus on the pedestrian bridge) $17-$34
Eugene Ems vs Hillsboro Hops (Baseball)
Red White & Boom! on Thirsty Thursday™
Join us for post-game Fireworks on our Independence Day celebration! Presented By KMTR
Cheers to Thirsty Thursday at the Eugene Emeralds, sponsored by Michelob Ultra, where you can sip on $5 full-size domestic beers and score $7 tickets - making it the best bang for your buck this season! Grab your friends, kick back, and enjoy a night of affordable fun at the ballpark!
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7:30PM Beall Concert Hall $5 with student ID
Oregon Bach Festival Bach: Mass in B Minor
Universally considered Bach’s crowning achievement, the profound and astounding Mass is the summation of a lifetime of work. It took decades to complete and remains a testament to Bach’s faith and artistic virtuosity.
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- Friday, July 4, 2025
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6:30AM Assemble at 5th & Oak $35-$50
Butte To Butte (10K Run | 5K Run/Walk | 4 mile Fitness Walk)
An Oregon Track Club event, the OTC Butte to Butte, presented by Rexius, includes a 10K Run, 5K Run/ Walk and 4 Mile Mayor's Walk. Courses take runners and walkers through the historic streets of Eugene, Oregon. Enjoy a unique road race, rooted in tradition, with a fun finish line location at 5th Street Public Market.
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- Saturday, July 5, 2025