Pitzer College Art Galleries

March 16, 2015Pitzer College Art Galleries exhibition Wunderkammer
Artillery Magazine

March 6, 2015Pitzer Art Galleries exhibition Blacklisted: A Planted Allegory
Artbound, KCET

February 27, 2015Pitzer Art Galleries exhibition Blacklisted: A Planted Allegory
notes on looking

January 21, 2015Pitzer Art Galleries exhibition Blacklisted: A Planted Allegory
Los Angeles Magazine

January 21, 2015 Pitzer College Art Galleries exhibition Wunderkammer
Inland Valley Daily Bulletin

December 5, 2014 Pitzer College Art Galleries exhibition Racial Imaginary
The Student Life

November 18, 2014 Pitzer College Art Galleries exhibition Racial Imaginary
Artillery Magazine

February 21, 2014 Pitzer College Art Galleries exhibition Andrea Bowers: #sweetjane, co-organized with Pomona College Museum of Art
Inland Valley Daily Bulletin

February 18, 2014 Pitzer College Art Galleries exhibition Andrea Bowers: #sweetjane, co-organized with Pomona College Museum of Art
Los Angeles Times

February 7, 2014 Pitzer College Art Galleries exhibition Andrea Bowers: #sweetjane, co-organized with Pomona College Museum of Art
The Student Life

February 7, 2014 Pitzer College Art Galleries Exhibition Arthur Dubinksy: The Life and Times of Pitzer College
The Student Life

February 6, 2014 Pitzer College Art Galleries exhibition Andrea Bowers: #sweetjane, co-organized with Pomona College Museum of Art
KCET ARTBOUND

January 24, 2014 Pitzer College Art Galleries exhibition Andrea Bowers: #sweetjane, co-organized with Pomona College Museum of Art
Visual Art Source

January 21, 2014 Pitzer College Art Galleries exhibition Andrea Bowers: #sweetjane, co-organized with Pomona College Museum of Art
ArtForum

January, 2014 Pitzer College Art Galleries exhibition Andrea Bowers: #sweetjane, co-organized with Pomona College Museum of Art
Art Scene

September, 2013 Pitzer Art Galleries exhibition GLPYHS: Acts of Inscription
Inland Empire Weekly

March, 2013 Pitzer Art Galleries exhibition Joyce Campbell: Te Taniwha/Crown Coach
Art in America

March, 2013 Pitzer Art Galleries exhibition Joyce Campbell: Te Taniwha/Crown Coach
Art in America

February 07, 2013 Pitzer Galleries exhibition Martha Wilson
Inland Empire Weekly

Nov/Dec 2012 Pitzer Art Galleries exhibition In the Shadow of Numbers: Charles Gaines Selected Works from 1975-2012, co-organized with Pomona College Museum of Art
artillery

October 2012 Pitzer Art Galleries exhibition In the Shadow of Numbers: Charles Gaines Selected Works from 1975-2012, co-organized with Pomona College Museum of Art
Notes on Looking

October 2012 Pitzer Art Galleries exhibition Joyce Capbell: Te Taniwha/Crown Coach
Notes on Looking

June/July 2012 Pitzer Art Galleries exhibition Liz Glynn: No Second Troy
Artillery

April 2012 Pitzer Art Galleries exhibition Liz Glynn: No Second Troy
ArtForum

February 2012 Pitzer Art Galleries exhibition Matthew R. Ohm: Vanitas
Tropo Mfg

February 2012 Pitzer Art Galleries exhibition Liz Glynn: No Second Troy
Art Scene

January 14, 2012 Pitzer Art Galleries exhibition Liz Glynn: No Second Troy
Artweek.LA

November/December, 2011 Pitzer Art Galleries exhibition Synthetic Ritual
LA Weekly

November/December, 2011 Pitzer Art Galleries Perpitube: Repurposing Social Media Spaces
Artillery Magazine

October 20, 2011 Pitzer Art Galleries Synthetic Ritual
Inland Valley Daily Bulletin

September 27, 2011 Pitzer Art Galleries exhibition Synthetic Ritual
Huffington Post

September 09, 2011 Pitzer Art Galleries exhibition Synthetic Ritual
ArtLA

FALL 2015

Liat Yossifor: The Politics of Painting

Nichols Gallery

The Rider

Liat Yossifer

The Rider

16 x 12 inches
Oil on linen
Courtesy of the artist

Although Liat Yossifor’s large-scale monochromatic paintings reference the tradition of Abstract Expressionism through their formal language, they have an entirely different agenda. As such, the exhibition, Liat Yossifor: The Politics of Painting, will explore abstraction as a political form and question the efficacy of both the medium and the genre as well as its relationship to artistic practice in the twenty-first century.

Despite beginning as vibrant blue, red or yellow canvasses, Yossifor’s paintings culminate in somber variations of gray ranging from light slate to almost white. Both tactile and sculptural, these thick impasto paintings are made entirely with palette knives that sculpt, incise and move large quantities of oil paint around on the paintings’ surface. Process-based and performative, these works are governed by a set of rules that delimit the time in which they can be worked on and completed. Produced within three days—the time it takes for the paint to dry—both the color and any discernable representational aspect are erased from the surface, resulting in a void-like space haunted by its expunged referents.

Although traditionally a male-dominated medium that celebrated the author-as-genius and abstraction as the purist form, Yossifor’s manipulation of the genre as a time-based gendered performance reconfigures the coordinates. In doing so, Yossifor encourages not only an expansion of the vernacular of Abstract Expressionism but also a different kind of meditation on its function and, as a result, its political potential.

Bio:

Liat Yossifor has exhibited nationally and internationally. Solo exhibitions include Liat Yossifor: Pre-Verbal Painting at the Contemporary Art Museum, St. Louis, MO (2015); Liat Yossifor: Thought Patterns at Amerigner | McEnery | Yohe, New York, NY (2012); Liat Yossifor: Falling into Ends at Galerie Anita Beckers, Frankfurt, Germany (2010); and Liat Yossifor: The Tender Among Us at the Pomona College Museum of Art, Claremont, CA (2007). Group exhibitions include Stolen Gestures at Kunsthaus Nuremberg, Nuremberg, Germany (2013) and A Reflected Gaze, Torrance Art Museum, Torrance, CA (2010).

Kang Seung Lee: Untitled (Artspeak?)

Lenzner Family Art Gallery

Jennifer

Kang Seung Lee
Jennifer
(2014-2015)
52 x 38 inches
Ink, watercolor, colored pencil, acrylic, gouache, pen, pencil, collage on paper
Courtesy of the artist

Kang Seung Lee’s installation Untitled (Artspeak?) takes as its starting point ARTSPEAK (1st edition, 1990), the mainstream compendium of “contemporary ideas, movements and buzzwords” from 1945 to 1989. Situating art movements and genres within the context of cultural and historical events, ARTSPEAK provides an overarching view of artistic practice from a Western European perspective that privileges a first-world patriarchal view of art history. In contrast, Lee challenges this narrow interpretation by re-writing the timeline from a critical queer perspective that includes women and artists of color previously erased from the narrative.

In keeping with the page layout and format of the book, artists, writers and critics are invited by Lee to contribute images and other textural references from the year of their birth that resonate with particular artistic, cultural and political moments. The resulting large-scale works, which are produced by Lee, are populated with his collaborators’ individualized responses that re-imagine history from the perspective of previously marginalized cultures and identities. Functioning as alternative historical narratives, they also operate as portraits of the participants, who include Leslie Dick, Millie Wilson, Gina Osterloh, Yong Soon Min and Jennifer Moon.

In a related project, Covers (2015), Lee excavates the gender and racial demographics of catalogues collected by CalArts Library since it opened in 1971. Comprising five bound books, each representing a decade, Lee documents the number of monographs on women and artists of color. By creating this counter-archive, Covers highlights forms of discrimination implicit in conventional systems that construct and disseminate knowledge.

About the Artist
Kang Seung Lee is a multidisciplinary artist who was born in South Korea and now lives and works in Los Angeles. He has had solo and group exhibitions at Centro Cultural Border, Mexico City, Mexico; the Weatherspoon Art Museum at University of North Carolina, Greensboro, NC; Museo Casa de Leon Trotsky, Mexico City; SOMArts, San Francisco, CA; Center for Art and Thought, Los Angeles, CA. Lee received his MFA from California Institute of the Arts in 2015.