On the Rocks, In the Land

Emerging Artist Series #8: Danielle Adair

September 19 – December 6, 2013
Lenzner Family Art Gallery

The documentary-performance-video installation, On the Rocks, In the Land, analyzes the role of the “tourist-observer,” within contemporary “conflict zones,” and questions how a “tourist” perceives and experiences sites of historic and contemporary political significance. The project incorporates experiences of and around the peace lines of Belfast, the Berlin Wall, the stonewalls of New England, the US-Mexican border in Ciudad Juárez, the separation barrier in the West Bank and the Occupy Wall Street Movement. The exhibition explores the notion of “play” as a persistent and ethical form of resistance in relation to the physicality of a “wall” as defined by these specific locations. Meanwhile, in investigating the intersection of place, politics and play in these sites, the project resists the assumption and further enforcement of a dominant narrative.

On the Rocks, In the Land is in keeping with Adair’s practice of assuming a particular role or responsibility during long-term projects to better examine the institutions and narratives by which we live. In an earlier work, FIRST ASSIGNMENT, Adair took on the role of a “war journalist”, as she embedded as “media” with US servicewomen and followed a unit in training, deployment in Jalalabad, Afghanistan, and upon their return home. This project involved a number of discrete works, including her artist field guide, From JBAD, Lessons Learned (Les Figues Press), and culminated in a long-form video piece. Adair engages with contemporary issues by actively blurring the distinction between documentary and performance praxis. Through the intimacy and particularity of such experience, On the Rocks, In the Land reveals unfamiliar forms of resistance and protest.


Curated by Renée Mussai and Ruti Talmor

September 19 – December 5, 2013
Nichols Gallery and The Kallick Family Gallery, Pitzer College Art Galleries

Artists: John Akomfrah, Cheryl Dunye, Rotimi Fani-Kayode, Lyle Ashton Harris, Zanele Muholi, Mwangi Hutter, Andrew Putter, Mickalene Thomas and Carrie Mae Weems

GLYPHS: ACTS OF INSCRIPTION builds on the premise that identities are constituted through acts of inscription—real or imagined—into the visual archives that constitute history, popular iconographies and artistic canons. GLYPHS probes the consequences of such acts on the poetic and political dimensions of representation, difference and visibility.

The exhibition program is funded by the Andrew W. Mellon Foundation, the Pitzer College Art Galleries, the Pasadena Art Alliance, the Pitzer College Forum Fund, the Murray Pepper & Vicki Reynolds Pepper Distinguished Visiting Artist & Scholar Lecture Series Endowed Fund and the Endowed Fund for Media Studies.

For more information visit the GLYPHS website.

AUTHENTIFICTION: Senior Art Exhibition 2013

April 25-May 18, 2013
Nichols Gallery, Broad Center
Lenzner Family Art Gallery, Atherton Hall
Barbara Hinshaw Memorial Gallery, Grove House

Annie Brown

Magazine Clippings (2013); Collage; Dimensions variable

Inspired by both modern and classic realists like Vija Celmins and Rembrandt van Rijn, my detailed drawings explore the fashion industry and its influence on standards of beauty through a humorous and timely critique. The title is inspired by a quote by Elizabeth Cady Stanton from her 1880 speech Our Girls: “I would have girls regard themselves not as adjectives but as nouns.” A Series of Adjectives is informed by body politics, pop culture and my personal relationship with feminism.

Using graphite, I create semi-realistic reproductions of modeling photographs juxtaposed with clippings from fashion magazines. The snippets of text underneath each drawing contextualize each photograph by bringing to light my unglamorous experiences with modeling. The layout of each drawing suggests those of Polaroids and models’ cards—both everyday items in the modeling industry.

Using editorial-like photos from a high-fashion modeling agency and presenting them with their final context of fashion magazines, I try to show the demeaning and unglamorous process in which images of still developing, body-obsessed youth make their way into women’s magazines. I explore how being on both the giving and receiving ends of this system impacted my life and ask viewers to examine the media more critically by looking at how its messages affect our sense of self. [clear]

Lauren Cronk

What We Have (on fait ce qu’on peut avec ce qu’on a) (2013) (detail); Slipcast porcelain; Dimensions variable

Playing with notions of nostalgia, distortion and the functional agency of objects, my work acts as a non-traditional portrait of a family lineage. Altering found objects from antique shops and casting them in porcelain, these now non-utilitarian objects become stand-ins for those who have left us. Combining antique furniture and slide projections to create a chaotic yet comfortable atmosphere, What We Have (on fait ce qu’on peut avec ce qu’on a) strives to mimic the eclectic, disorganized nature of one’s memories. [clear]

Kayla Friedman-Barb

An Anonymous Life (2013); Photo: 1936, Morton Friedman; Detail of installation; Mixed media

I am a collector of abstract histories. My experimental animation and non-linear recordings incorporate personal stories, abstract themes and distorted remembrances. The works include hand drawings, home videos, cut-outs, spoken word and photographs.

Disguised by personal and sometimes even mundane stories, my pieces transport the viewer to a place located between the individual and the collective. My work lies on the delicate boundaries of complicated and simple, important and unimportant, alienating and inviting, as I work toward creating portraits that are both general and specific.

Inspired by an African proverb, “Every time an old man dies it is as if a library has burnt down,” I use the tradition of oral storytelling to collect the experiences of an aging generation. These stories represent an entire collective memory as well as a first-person account of United States history, reminding us about all the things that came before.

“I just want to recognize anonymous everyday life.” – Do-Ho Suh [clear]

Taylor Kamsler

Chaparral (2013) (detail); Monoprint; Dimensions variable
Chaparral (2013) (detail); Monoprint; Dimensions variable

My work is about connections. At first they may appear far-fetched, sometimes relating seemingly disparate ideas, people or structures. Though continuous, self-sustaining systems drive the biotic and abiotic processes of the earth, emblems of human infrastructure interject into these systems, disabling their ability to sustain their prehistoric formats. The prevailing global paradigm suggests increased connectivity; I explore the areas where this theory falls apart. In my work, fragmented imagery, broken cycles and degraded input/output apparatuses coexist with looping time and interconnected webs of movement.

Material selection plays a large role as I contend with issues surrounding consumption. By letting the material inform what I create, I relinquish a certain amount of control. The process comes first and aesthetics follow. Collecting local clay and native plants forces me to become intimately aware of the place I inhabit. I often produce utilitarian or familiar objects to invite a deeper interaction with the works. I work mainly in three dimensions utilizing ceramic and found objects. I negotiate the space between permanence and ephemerality. [clear]

Alycia Lang

Mikal Sits in a Cabin with Some of His Favorite Things (2012); Colored pen on digital photo print; 8.5” x 11”
Mikal Sits in a Cabin with Some of His Favorite Things (2012); Colored pen on digital photo print; 8.5” x 11”

I am an artist with an avid interest in examining how everyday use of media, specifically photography, reflects larger cultural beliefs and practices. This collaborative work is a study of how photography, as an implicitly “realistic” medium, informs the way we picture others and ourselves.

My collaborative portraits are positioned within a larger context that encompasses the historical use of photographic images to categorize, document and solidify identities. Referencing the 19th-century notion of “photography as truth,” I consider the present day use of the medium as a device for intentional reality-making in physical and online (non-physical) spaces.

Influenced by artists such as Cindy Sherman, Jim Goldberg and Gillian Wearing, my work explores the juncture where the photographer’s viewpoint meets that of their subjects’ self-image. In so doing, the notion of authorship is blurred, as is the inherent ability of the photographs to provide veritable information through visual accuracy.

This series of large-scale digital prints and their altered counterparts deconstructs the perception of photography as an inherently truthful medium by adding another dimension to how identity is formed through photographic images. Through the work’s interactive component, the photographed subjects are invited to examine and reconstruct their own relationship to the medium and to images of the self. [clear]

Max Macsai-Kaplan

A desk made of Ticky-Tacky (2013); Found wood, hardware; 35” x 57” x 31”
A desk made of Ticky-Tacky (2013); Found wood, hardware; 35” x 57” x 31”

My approach to producing work is to create synapses between the material and the viewer’s normal interaction with it. My work aims to question the tradition of handcrafted furniture by introducing reclaimed wood into the production process. Blurring the line between the sculptural and the functional, this work references the SoFa movement—which attempts to erase the line between fine art and craft. The use of the inherited ornamental features references the former life of the object. Through my approach, I find myself entering into new aesthetic grounds. By working with everyday discarded materials and the  Ifading practice of craft I attempt to bring the viewer’s gaze back to the physical and constructed world that we live in. By highlighting these ideas I hope to create a new consensus regarding art and functionality. [clear]

Sky Martin

What I Found in the Ground (2013); Processed local earth; Dimensions variable
What I Found in the Ground (2013); Processed local earth; Dimensions variable

When I dream, there is no narrative. The images themselves contain a story. I have dreamt of a place, with my friends, where I escape the monotonies and stresses of my everyday life, filled with cold, mass-produced objects that shape my society. In this world, I become so distracted, I forget the ground is alive, but when I am standing on dirt, free of concrete or flooring, the earth is full of past stories, and life, that offers new stories to write. I often run to the San Gabriel Mountains, where I have found red dirt, the color of the castle in my mind.  And so I am writing stories with images instead of words, in dirt, instead of letters.  I am remembering the ground and that it is alive with old and new.

An environmental and spiritual cycle is completed with the meeting of mind and matter, when my imagination is grounded and the ground is imagined. [clear]

Charlotte Pradie

Bearmax (2013); Three channel video installation; 4 min

My video work takes the form of short, character-driven portraits. These geometric and simply framed compositions are produced using available light with minimal work done in post-production. Similarly, my photographs—portraits of my family or close friends—are also centrally framed and geometrically composed using available light. My photographic practice is personal and sometimes unsettling, hearkening to the tradition of portraiture set forth by photographers like Nan Goldin and William Eggleston, who disturb notions of the everyday and familiar. My work also examines the way in which the familiar becomes disturbing, and goes further to try to reconcile this disruption of my everyday life. This reconciliation can be found in my video work, in which I use humor to discuss the emotional turbulence inherent in my photographs. My videos center on my childhood stuffed animal, “Bearmax,” who “talks,” using my voice, about familial tensions in an honest and dryly comedic way. My work emphasizes the right to self-representation and self-reflection broadcast on a larger scale; I bring personal issues into the gallery, and engage viewers in my process of reconciliation, coping and even self-pity. I encourage viewers to reflect on these issues and recognize both the isolating and universal qualities of family conflict. [clear]

Janak Tull 

Transformation 66 (2013); Fabric, thread; Dimensions variable
Transformation 66 (2013); Fabric, thread; Dimensions variable

My work is a study of transformation and time through diverse materials and fabrics. The clothes that I make are designed to articulate different avatars that relate to fragments of my experience. Each one of these has its own identity and character. To actively engage the viewer in a new experience, I use fabric that is textured and optically challenging. My practice references artwork made in the ’60s and ’70s that blurred the line between sculpture and performance. Interaction and participation are major aspects of my practice, as they celebrate collaborative action. My ethnic background is completely confused. I have no definite cultural identity, and for this reason I have spent the entirety of my life exploring pseudo-American cultural identities. My exploration of these identities is meant to be humorous, not offensive. [clear]

Nick Williams

Out of Sight, Out of Mind (2013); Monoprint lithograph; 10” x 12”
Out of Sight, Out of Mind (2013); Monoprint lithograph; 10” x 12”

A certain fascination with industrial forms, specifically those found withing the domestic sphere, resides in my work. I am constantly influenced by my own sense of place, and an object-oriented exploration of place has become a thread throughout my practice. I work mainly in drawing and printmaking, and through many years of experimenting with these media I have gathered the essential qualities of what I find to be most effective for my work, and distilled qualities into a minimal aesthetic.

Drawing on the visual traditions of surrealism, minimalism and pop art, this series of prints isolates and decontextualizes industrial forms from their suburban infrastructure. I am working with a variety of influences,  particular Bernd and Hilla Becher’s photography, Greg Eason’s drawings, and prints from artists such as Ed Ruscha and Ken Price. My practice utilizes the concept of Shibusa, a Japanese aesthetic tradition that finds balance between simplicity and complexity in everyday objects. By playing with scale, spatial positioning and repetition, I seek to activate the surreal in the everyday, to uncover underlying aesthetic and iconographic meaning within these forms. [clear]

Ilse Wogau

Badwater Ø (2013); Digital print, mixed media; 42” x 66”
Badwater Ø (2013); Digital print, mixed media; 42” x 66”

Influenced by the study of perception and its relationship to thought and reality, I use photography to introduce different possibilities to those realities. My images contain fractions of truth enhanced by the surreal.  A sense of tension forms when it is difficult to distinguish the “real” from the “unreal” within a spatial or augmented reality.

Using photographs taken of the Mojave Desert, I push the boundaries of preconceived realities by manipulating digital images. On the surface, the images appear ghost-like and provoke a feeling of loss and isolation. However on further evaluation, the desert appears to be reclaiming itself, forming a surreal reality between nature and the contrived.

Through the use of found or re-created objects and acrylic paint, form and texture are introduced into the large-format digital prints. Negative space is used as a canvas in which to displace the fractured landscape.

Perception of reality is a fluid concept. These perceptions are influenced by our beliefs and life experiences. Using photography I invite others to contemplate possibilities related to the forces of nature.

Crowd Control

Emerging Artist Series #7: Tannaz Farsi: Crowd Control

Guest Curator: Tim Berg, assistant professor of art, Pitzer College

January 26 – March 22, 2013
Lenzner Family Art Gallery

You are Invisible (2012); Mixed media; Dimension variable; Courtesy of the artist

Tannaz Farsi’s work examines the activity surrounding cultural uprisings and uses liminal moments in our current landscape of events that can speak to individual agency. Farsi’s sources range from the language of advertising to mass-produced, pedestrian objects, such as fluorescent light bulbs, cinder blocks, megaphones and roses, which evoke political protests as well as the globalized economy. This negotiation of the mundane to the historical presents an opportunity to create monuments that aren’t generated through the proclamation of power but by the understanding of human fallibility. Through the relationship of objects, shift of scale and contingency of parts, Farsi embraces the flux of transmission, temporality and site by examining the semiology connected to the construction of meaning in public space.

The work shown in Lenzner Family Art Gallery will explore language and objects that highlight political divisions by transforming recognizable forms to manifest the perceptual and emotional aspects associated with the visual vocabulary of conflict. By translating material from our contemporary cultural archive, Farsi’s practice is invested in producing speculative realities that allow for subjective intervention.

About the Artist

Flag (2012); Mixed media; Dimension variable; Courtesy of the artist

Tannaz Farsi received her MFA from Ohio University in Athens, OH in 2007 and a BFA summa cum laude from West Virginia University in Morgantown, WV in 2004. Farsi has participated in numerous solo exhibitions including Losing Themselves in a Distance to Far Away Heights at Disjecta in Portland, OR (2011); Of News and Reclamation at Delaware Center for Contemporary Art in Wilmington, DE (2010); The Future Belongs to Crowds at Ohge Ltd, Seattle, WA (2009); ECHOMAKER at The Barron and Elin Gordon Galleries, ODU University in Norfolk, VA (2009); the Formal Absences of Precious Things at Sculpture Center in Cleveland, OH (2008); and Self-Haunted and Synthetic at Siegfried Gallery in Athens, OH (2007). She has also participated in numerous group exhibitions including In Light Richmond at 1708 Gallery in Richmond, VA (2012); The Long Now at Jordan Schnitzer Museum of Art in Eugene, OR (2012); Beacons at Urban Institute of Contemporary Art in Grand Rapids, MI (2011); The 9th Northwest Biennial at Tacoma Art Museum in Tacoma, WA (2009); Architecture of Fragments at The New Art Center Gallery in Newtonville, MA (2009); HANDS REMAIN STILL at Tacoma Contemporary in Tacoma, WA (2009); Surreal Systems at Gallery Homeland, PDX Film Festival in Portland, OR (2009); Beginnings and Ends at Gallery 621 in Tallahassee, FL (2009); and 1990 Until Now* at The Winery in Louisville, KY (2007). Farsi was the recipient of Bemis Center for Contemporary Art award in 2008 and Artist Fellowship Grant from Oregon Arts Commission in 2010. In 2011, she was awarded the MacArthur Foundation Travel Grant, the Leon Levy Foundation Grant, the Dean’s Award from the University of Oregon and was the finalist for both The Brink Award of Henry Art Gallery in Seattle, WA and Contemporary Northwest Art Awards from Portland Art Museum in Portland, OR. Farsi was the artist-in-resident at Bernis Center for Contemporary Art in Omaha, NE in 2009 and at MacDowell Colony in Peterborough, NH in 2011. Tannaz Farsi lives and works in Eugene, OR, where she currently serves as an assistant professor of art at the University of Oregon.

About the Curator

Tim Berg is assistant professor of art at Pitzer College and a sculptor. Berg and his full-time studio collaborator, Rebekah Myers, have participated in numerous exhibitions including On the brink at Dean Project Gallery in New York, NY (2011); As Luck Would Have It at Nääs Konsthantverk Galleri in Göteborg, Sweden (2009); All Good Things… at Dean Project Gallery in Long Island City, NY (2008); Hope Springs Eternal at Seigfred Gallery at Ohio University in Athens, OH (2007); and Glacial at Ironton Studios in Denver, CO (2007). Over the years, Berg and Myers have participated in numerous group exhibitions in the US, Mexico, South Korea, Sweden and Kuwait. Their work is included in several private and public collections including the Betty Wood­man Collection at the University of Colorado and the Biedermann Museum in Germany. Berg additionally works as a freelance curator and has curated a number of exhibitions including The 67th Scripps Ceramic Annual (2011); Student Exchange Exhibition (2007 and 2004); and Northern Colorado Regional Student Show (2004). Berg received his MFA from the New York State College of Ceramics at Alfred University in 2003 and BFA magna cum laude from the University of Colorado in Boulder in 2000.

Related Events

Opening Reception: Saturday, January 26, 2-4 p.m. at Nichols Gallery

Artist Lecture: Monday, January 28 at 9:00 a.m. in Lenzner Family Art Gallery

Martha Wilson

January 26 – March 22, 2013

Nichols Gallery


Martha Wilson is an Independent Curators International (ICI) traveling exhibition with an added collaborative component that allows each venue to further develop the show’s thesis in consultation with the artist. This collaborative model lets the hosting institution focus on different aspects of the exhibition through selection and emphasis of individual works, specific thematic content and collateral programming.

Martha Wilson is a pioneering feminist artist and gallery director. For the past four decades, she has created innovative photographic and video works that explore her female subjectivity through role-playing, costume transformation and “invasions” of other people’s personas.

Martha Wilson mines various experimental practices, writings and shifting perspectives to explore current attitudes toward feminism, activism and collaborative practice. This exhibition includes conceptually-based performance, photo-texts and video as well as selected projects from 30 years of Franklin Furnace, an artist-run space that Wilson founded to challenge institutional norms and champion the exploration and promotion of artists’ books, installation art, and video and performance art.

Working Girl
Working Girl

Wilson’s career began in Nova Scotia in the early 1970s. Her work first began to garner wide-spread attention after Lucy Lippard contextualized Wilson’s pieces within the parameters of conceptual practice and other women artists. In 1974, Wilson moved to New York City where her provocative appearances and works gained national recognition—Judy Chicago once denounced her for “irresponsible demagoguery.” Wilson has also been regarded by many as prefiguring some of Judith Butler’s ideas on gender perfomativity through her practice. More recently, she was described by art critic Holland Cotter as one of “the half-dozen most important people for art in downtown Manhattan in the 1970s.”

In 1976, Wilson founded and then directed Franklin Furnace, where artists Jenny Holzer, Claes Oldenburg, Robert Wilson, William Wegman and hundreds of others first premiered their work. In 1981, Wilson continued her collaborative tradition when she hosted a gathering in New York of feminist performance artists from Los Angeles and London—a group that included Leslie Labowitz, Linda Nishio, Martha Rosler, Rose Finn-Kelsey, Sonia Knox and Carlyle Reedy—and staged a series of performances titled LA-London Lab. Franklin Furnace continues its nearly four decades of programming today, preserving and advocating avant-garde art by providing exhibition space, publishing periodicals and printing artist books.

ici_logoMartha Wilson is organized by Independent Curators International (ICI), New York, and was initiated by guest curator Peter Dykhuis. The exhibition, tour, and the accompanying publication Martha Wilson Sourcebook are made possible in part by grants from the National Endowment for the Arts, The Andy Warhol Foundation for the Visual Arts, The Horace W. Goldsmith Foundation, The Cowles Charitable Trust, and by the generous support of the ICI Board of Trustees.

About the Artist

Martha Wilson has created innovative photographic and video works for more than four decades. She began making these videos and photo/text works in the early 1970s when she was studying in Halifax, Nova Scotia, and further developed her performative and video-based practice after moving in 1974 to New York City where she gained attention across the US for her provocative appearances and works. Early in her career, the art critic and curator Lucy Lippard contextualized Wilson’s pieces within the parameters of conceptual practice and other women artists. In 1976, Wilson founded and then directed Franklin Furnace, an artist-run space that championed the exploration and promotion of artists’ books, installation art, and video and performance art, further challenging institutional norms, the roles artists played within visual arts organizations and expectations about what constituted acceptable art mediums. Over her long career, Wilson has been written into and out of art history according to the theories and convictions of the time. She has been regarded by many as prefiguring some of Judith Butler’s ideas on gender perfomativity through her practice and is considered one of the most innovative creative forces in the New York art world of the 1970s.

About the Curator

Peter Dykhuis is director/curator of the Dalhousie Art Gallery in Halifax, Nova Scotia. Dykhuis is the former director of the Anna Leonowens Gallery at the Nova Scotia College of Art and Design and served as a guest curator for the Art Gallery of Nova Scotia. His most recent exhibitions were Exalted Beings: Animal Relationships, Douglas Walker: Other Worlds and Giving Notice: Words on Walls.

Related Events

Opening Reception:
Saturday, January 26, 2013, 2-4 p.m. at Nichols Gallery

Barbara Bush on LA><ART by Martha Wilson
Pitzer College Art Galleries in collaboration with LA><ART
2640 S. La Cienega
Los Angeles, CA 90034
Thursday, January 24, 2013 at 6:30 p.m.

Artist Lecture:
Wednesday, March 13 at 10 a.m. in Broad Center Performance Space, Pitzer College

We’ll Think of a Title When We Meet AKA LA-London Lab
Conversation with Martha Wilson, Suzanne Lacy, and Cheri Gaulke
The panel will be moderated by Dr. Alexandra Juhasz, Pitzer College professor of media studies

Pitzer College Art Galleries in collaboration with Otis Public Practice at the 18th Street Arts Center in Santa Monica
1657 18th Street, Santa Monica, CA 90404
Wednesday, March 13, 2013 at 7 p.m.

Catalogue – Joyce Campbell

Joyce Campbell: Te Taniwha/Crown Coach
September 15 – December 7, 2012
Curated by Ciara Ennis
Pitzer College Art Galleries
58 pages, with color and black and white reproduction
ISBN: 978-0-9829956-4-8
Essay by Stacey McCarroll Cutshaw and Richard Niania
Interview by Ciara Ennis
Edited by Susan Warmbrunn
Catalogue designed by Stephanie Estrada

Te Taniwha/Crown Coach

Joyce Campbell

September 15 – December 7, 2012
Nichols Gallery

Toro-rau-iri (2010); 16mm film; 8 minutes
Toro-rau-iri (2010); 16mm film; 8 minutes

New Zealand artist Joyce Campbell presents two recent series of photographic works that explore the history, mythology, and ecology of two sites: one located on Maori tribal land in New Zealand, the other a brown-field in Los Angeles. Te Taniwha explores Lake Waikaremoana, in Te Reinga—situated on Ngati Kahungunu tribe territory—and follows the quest to find two ancient snake-like water species: the Taniwha and the giant longfin eel. A place of great historical significance, where mid-nineteenth century colonial wars were fought against English occupying forces, Te Reinga remains a contested space where land, water, beach and forest rights are continually sought and fought over. In addition, Lake Waikaremoana has rich and layered mythological associations, whose fantastical sea creatures are believed to have spawned the Ngati Kahungunu tribe.

Crown Coach Botanical series, made on-site also using nineteenth century ambrotype techniques, documents the botanical specimens growing in a polluted industrial site in downtown Los Angeles known as the Crown Coach brownfield. Part of a larger series titled “LA Botanical” Joyce Campbell uses these ambrotypes to chart the needs and resources of the Los Angeles inhabitants becoming a “survival guide” of edible and medicinal plants that have grown in Los Angeles since the city’s birth. This manifestation paints Los Angeles as a field of abundant life as opposed to an industrial wasteland.

Sometimes she resides where the two rivers meet; Daguerreotype; 4 1/2 x 7 in.
Sometimes she resides where the two rivers meet; Daguerreotype; 4 1/2 x 7 in.

Bringing these two series of work together—Te Taniwha and Crown Coach—provides an opportunity to discuss the spiritual and symbolic connections between the two sites through the use of 19th century spiritual photographic techniques. And presents an opportunity to explore the relationship between sacred plants and traditions, land rights and access (public and private), both pertinent to Te Taniwha and Los Angeles.

Related Events

Opening reception:
Saturday, September 15, 2-4 pm
An Opening Ceremony, Powhiri (Blessing) will be performed by Maori native and historian, Richard Niania.

Artist lecture:
Thursday, September 13 at 2:45 pm at Nichols Gallery, Pitzer College

Panel Discussion:
Tuesday, September 25 at 2:45 p.m.
Broad Performance Space, Broad Center, Pitzer College
Panelists include: Edgar Heap of Birds, Cheyenne Arapaho artist and professor of Native American studies and fine arts at the University of Oklahoma; Leda Martins, associate professor of anthropology, Pitzer College; Stacey McCarroll Cutshaw, editor of exposure; and artist Joyce Campbell. The panel will be moderated by Bill Anthes, associate professor of art history, Pitzer College.

Catalogue – Charles Gaines

In the Shadow of Numbers: Charles Gaines Selected Works from 1975-2012
September 4 – October 21, 2012
Curated by Ciara Ennis and Rebecca McGrew
Pitzer College Art Galleries
94 pages, with color reproductions, 10.75” x 8”
ISBN #978-0-98118955-9-8
Essays by Michael Ned Holte, Charles Gaines
Foreword by Ciara Ennis and Rebecca McGrew
Catalogue design by Kimberly Varella

In the Shadow of Numbers

In the Shadow of Numbers: Charles Gaines Selected Works from 1975-2012

September 4 – October 21, 2012
Lenzner Family Art Gallery

The Pomona College Museum of Art and Pitzer Art Galleries, Pitzer College are pleased to present In the Shadow of Numbers: Charles Gaines Selected Works from 1975-2012. Based in Los Angeles, Gaines investigates the relationships between aesthetic experience, political beliefs, and the formation of meaning. His work over the last forty years has typically employed systems and rule-based procedures to explore how we experience and derive meaning from art. Gaines is often linked with early Conceptual artists who came to prominence in the 1960s questioning subjectivity and traditional formal and material concerns. However, he identifies more closely with John Cage’s examinations of indeterminacy in both composition and performance and focuses on linguistic tools such as metaphors and metonyms.

In the Shadow of Numbers: Charles Gaines Selected Works from 1975-2012 represents the first collaboration between the Pomona College Museum of Art and Pitzer College Art Galleries. The exhibition consists of photographs, sculptures, video, and drawings from several bodies of Gaines’s work over the last several decades, including the “Explosions,” “History of Stars,” “NIGHT/CRIMES,” “Shadows,” and “Walnut Tree Orchard” series, among others, presented at the two Claremont College venues. A catalogue accompanies the exhibition and includes writings by the artist, Michael Ned Holte, Ciara Ennis, and Rebecca McGrew.

Related Events

Opening reception: Saturday, September 15, 4-6 p.m.
Pomona College Museum of Art

Performance: Thursday, September 20 at 7 p.m.
Pomona College Museum of Art
The Lone Wolf Recital Corp featuring Charles Gaines will present an evening of electronic, digital, and acoustical sound.

Artist lecture: Tuesday, October 16 at 2:45 p.m.
George C.S. Benson Auditorium, Pitzer College

Living Inside Is Beautiful: Senior Art Exhibition 2012

Senior Thesis Exhibition 2012
April 26 – May 12, 2012

Lenzner Family Art Gallery, Atherton Hall, Barbara Hinshaw Memorial Gallery, Grove House

Robbie Acklen, Elizabeth Bartolini, André Baum, James Cathey, Brandon Fernandes, Zachary London, Dean Pospisil, Leah Quayle, Reid Ulrich

In (2011); Pressure Treated Wood and Aluminum; 10 x 10 x 10 inches
In (2011); Pressure Treated Wood and Aluminum; 10 x 10 x 10 inches

Robert Acklen

Re-visiting a space of adolescence—Beneath the Bleachers (2012)—examines the effect of my culturally specific upbringing–mid-western, white American, suburban—through an installation that is both psychoanalytical and environmentally impactful. Distortion is inevitable when recalling distant memories. When I do re-call moments from my adolescence, they manifest into an incomplete picture. The dream-like objects I present function as analogies for distorted interpretations recalled from my youth. In my work, I attempt to heighten the viewer’s awareness of their own positionality as participants in our culture’s contemporary scopophilic state. By presenting the standard/traditional object of the bleacher—now made dis-functional and inaccessible—I remind us of the borders of spectatorship that is always functioning, perhaps unconsciously. [clear]

SpilLover (2010); Performance, Times Square, NYC; 3 hours
SpilLover (2010); Performance, Times Square, NYC; 3 hours

André Baum

A curiosity of the unknown compels me to create. I strive to reveal hidden luminosity in the intersection of the logical and physical with the irrational and extrasensory. Improvisation is essential to my process, which is explored with music, film, drawing, and writing. These media function as representations for my subconscious urges and unconscious revelations unraveling into the impersonally sacred.

My work is inspired by synchronistic moments: intersections of experiences between others and myself that should not be mistaken as mere coincidence. These collisions often occur when creating energetically and mindfully. For me, they exemplify successful communion with the nature that governs me. These experiences give way to my use of performance to unite spiritual practices and multimedia.

It is intention that distinguishes purposeful performance from everyday life. But the two often blend. T.S. Elliot wrote, “There will be time/ to prepare a face to meet the faces that you meet.” In my various roles, I aim for congruent authenticity. And what is an authentic performance if not first aligned with an authentic spirit? In lieu of an answer, I surrender to the ritual of synchronistic consciousness, of that which connects not to my personhood but rather to what I do to honor its existence. [clear]

a ________ creation (2012); Digital print; Dimensions variable
a ________ creation (2012); Digital print; Dimensions variable

Elizabeth Bartolini

As human beings, we are all interconnected in some way shape or form, and I explore this interconnectivity in my artwork. Each piece I make attempts to answer the question: “How can human beings find themselves in each other?” Using photography and sculpture, I seek to interrogate this question—not to come to a single conclusion, but to examine the many possibilities that it throws up. I reference David Hockney’s collaging style to identify parts that make up the whole, reminding myself of the importance of each fragment. Through these photo collages, I see my subjects in a new light and find reflections between each person. This exploration has been focused on my family, and in particular my mom. I am interested in exploring my connection to her—beyond the obvious (though not insignificant) life-giving relationship. She has been diagnosed with Progressive Supranuclear Palsy, a rare degenerative brain disorder that slowly takes away one’s motor skills. As her physical being slowly deteriorates, her awareness and aliveness are still intact. Through my practice, I get to discover my mother beyond the disease, beyond her body and create myself in the process. While this exploration is not over, I know that I am proud to be a daughter of woman who loves unconditionally. [clear]

Unknown Cargo (2012); Digital video; 30 minutes
Unknown Cargo (2012); Digital video; 30 minutes

James Cathey

My artwork is inspired by my experiences traveling across the United States and more recently, the Middle East. I have always been fascinated by the process of decay and growth on the border between the natural environment and human society. The patterns and textures that result from these conflicting realms of the organic and the synthetic form the basis of my inspiration.

Utilizing film and photography, I document both the purity of natural objects and places, as well as the waste and damage resulting from excessive production and consumption of material goods. The soundscapes that I compose are important in establishing immersive spaces that complement the projected images. Field recordings and synthesizers are the tools used to create an ambient tapestry that embodies the collision of the organic and synthetic.

I use generative software to apply randomized editing and sequencing to forcefully combine and fragment both the audio and video media. The result is a space that metaphorically embraces the timeless beauty of nature while simultaneously introducing the caustic results of rampant industrialization. By applying generative methods to my work, a detachment from linear space and relation is created. The original media is transformed into a cacophony of fracturing elements that coalesce into a unified theme of uncontrollable destruction. [clear]

Repetition (2012); Stencil art; 6 x 6 inches
Repetition (2012); Stencil art; 6 x 6 inches

Brandon Fernandez

When I create an artwork, I deliberately use inexpensive materials such as glue-guns, dollar spray-cans, Christmas lights, brown canvas paper and other items that are freely available on the college campus setting in order to bring attention to their accessibility and economic value. Influenced by graffiti writing styles and the “Street Art” scenes in Los Angeles as well as other parts of the world, my artwork draws from urban art practices and incorporates the use of stencils, calligraphy-writing, LED drawing, and other sculptural forms. In my most recent drawings I have become interested in creating complex forms and shapes referencing different angles. I consider these drawings complete when they show a considerable amount of repetition, balance, depth and symmetry. Similar to the role of a DJ whose practice consists of sampling bits and pieces to construct a collective whole, my drawings are only complete once they have integrated the geometric shapes and angels into the complex designs which keeps the viewers eye traveling. [clear]

Spear (detail) (2012); Aluminum; Dimensions variable
Spear (detail) (2012); Aluminum; Dimensions variable

Zachary London

On The Bald Prophets

“On a smog-encrusted morning late last August, the otherwise innocuous Mount Baldy was abruptly transformed into the most eminent archeological site in the Western Hemisphere. Upon the incidental discovery of a ceramic protrusion, my team and I conducted a routine dig, which resulted in the most significant excavation of my career. Embedded just beneath the sprawl of a few Yuccas lay an archaic time capsule—a cryptic codex of exceedingly peculiar artifacts that had been deliberately embedded in the soil. The most jarring and prophetic of these specimens was a small shield, emblazoned with the ubiquitous corporate logos and industrial scenery of our present era. I was quick to deem the findings a hoax, however, rehydroxylation tests revealed that the object was 800 years old.

Of the progenitor’s culture we know very little. Their cosmology is hardly revealed through the obfuscated objects they bestowed to us. My credentials as an archeologist compels me to speculate and prescribe narrative to these inscrutable peoples, to elucidate their way of life so that we may confidently add another patch to the elaborate quilt of human history. But I remain mystified. Lo, we have dug up the whole mountain, and they have left us nothing more.” [clear]

Grove House at Pitzer College (2012); Craftsman Era House; Dimensions variable
Grove House at Pitzer College (2012); Craftsman Era House; Dimensions variable

Leah Quayle

Expanding the Grove House

My work attempts to expand the unique position that the Grove House occupies socially, historically and physically within the Pitzer community and the surrounding area by modifying the viewer’s relationship to the space. I will create a forum for new connections to be forged within the context of the Grove House, as an experiment in relational aesthetics. I will be collaborating with Grove House community members and the caretaker, Julie McAleer, to present a collection of relational pieces that include a core website, an exhibit of the space, and a series of workshops. The website, will allow viewers to explore a library of information about the house’s history, function and current activities. I will also alter the physical space of the house by restoring traditional furniture and bringing in new objects for the house’s activities.

My guides and workshops will provide information on a variety of skills useful within the Grove House, from how to cook a recipe to how to arrange an internship at a neighboring farm. The overall purpose of these workshops and guides is to enable participants to take action and care for the space. This project encourages viewers to expand of their perceptions of how this collective space is experienced and how it can be altered by each individual. [clear]

Hear/Touch (2012); Wood; 3 ½ x 4 inches
Hear/Touch (2012); Wood; 3 ½ x 4 inches

Dean Pospisil

I know of no better tactic than the illustration of exciting principles by well-chosen particulars
—Stephen Jay Gould

One of the most basic features of the nervous system is analogy, the ability to form relationships between different sets of information. I believe it is our unusually high propensity to analogy that has driven some of the most valuable developments in human culture. Language came from the translation of images into sounds, and the translation of sound back into images resulted in written language. Thus by translating one set of information into a radically different domain, the way we share and form meaning can be deepened. In my science thesis I argue that analogy has derived from the evolutionary pressure to integrate information across the basic senses. By fusing sculpture and electronics, I seek to explore analogy at the most basic level through the creation of new relationships between our senses. By directly re-organizing the viewers modes of hearing, seeing and touching, these artworks will prompt the viewer to experience the potentialities of the radical reconstruction of our perceptions. [clear]

Erasure (2012); Film still
Erasure (2012); Film still

Reid Ulrich

When we bury our dead, we preserve them in dreams and memories, mirages and choruses. We enter as others exit and so we join stone with soil and wait for grass to grow. In every life led, there is revolution. As we build our monuments, we fail to preserve their victory, their transformations. Instead, we profess to the ear of the future the persistent sensations of existence. When we speak to the living, we speak about suffering, about renewal, about protest. And then we meander.

In every word spoken and image shared a defeated revolution lives. Here and now, I am attempting and failing to revolt against a number of effects. I am attempting to speak about things that can’t be said with a voice that can’t be heard. I am demanding that we share the gift of loss and the life of death.