Curated by Ciara Ennis and Jennifer Vanderpool
Pitzer College Art Galleries
January 20–March 29, 2018
Opening Reception: January 20, 3-5 p.m.
Nichols Gallery, Broad Center Pitzer College T: 909.607.8797
Symposium: Manifesto: A Moderate Proposal March 23, 2018
Benson Auditorium Pitzer College
The people have spoken. They have put it in writing. They have created manifestos.
Pitzer College Art Galleries has collected these works and put them on display in Manifesto: A Moderate Proposal, an exhibition of the ideas, wishes and demands of scores of citizens with something to say and a need to be heard. It is our current climate of discord that created Manifesto: A Moderate Proposal. It was conceived to give these citizens a soapbox and to amplify their voices.
These voices are many. These voices belong to inmates at sun-baked correctional facilities in Southern California and to cloistered scholars at elite colleges. These voices express the ideas of professional writers, self-taught artists and developmentally disabled students. Their broad variety of concerns were harvested by a team of varied volunteers—Andrea Bowers, Olga Koumoundouros, Việt Lê, Ultra Red, Carlin Wing and Jenny Yurshansky—who collected manifestos that are printed on paper, painted on canvas, formed in neon, shot on video and carved in wood. MANIFESTO: A Moderate Proposal is a multitude of opinions hung densely, floor-to-ceiling, in sections that reflect the numerous themes that include immigration, ableism, race, resistance, religion and gentrification.
MANIFESTO: A Moderate Proposal opens on January 20, 2018, and runs through March 29, 2018, at the Pitzer College Art Galleries in Claremont, CA. Pitzer College is one of the highly ranked and nationally admired Claremont Colleges that share contiguous campuses in eastern Los Angeles County. A symposium discussing many of the issues raised by the exhibition will take place on March 23, 2018.
Funded by a National Endowment for the Arts grant, MANIFESTO: A Moderate Proposal was conceived as an outlet for ideas and proposals for the healing of discord in our society and improvement of conditions for all citizens. With the public sphere embroiled in a seemingly intractable contest of us-versus-them so virulent that it has filtered down to a neighbor-vs-neighbor antagonism, it is essential that we reexamine just who we are and what we stand for. MANIFESTO: A Moderate Proposal has joined the conversation.
This project is supported in part by an award from the National Endowment for the Arts.
Curated by Bill Anthes and Ciara Ennis Pitzer College Art Galleries January 20–March 29, 2018
Opening Reception: January 20, 3-5 p.m.
Nichols Gallery, Broad Center Pitzer College T: 909.607.8797
Pepper Distinguished Visiting Artists and Scholars Lecture Edgar Heap of Birds January 23, 4:15 p.m. Benson Auditorium
According to noted artist and activist Edgar Heap of Birds, the exhibition Defend Sacred Mountains is a message both ecological and spiritual. Pitzer College Art Galleries is helping him deliver the message.
In Defend Sacred Mountains, a suite of Edgar Heap of Birds’ text prints calls attention and rallies resistance to the desecration of four mountains that are sacred to Native Americans: Bear’s House/Devils Tower, Wyoming; San Francisco Peaks, near Flagstaff, Arizona; Bear Butte, South Dakota; and Mauna Kea, Hawaii. Edgar Heap of Birds documents the history of the sites and the struggle over land rights connected with these four mountains in 64 monoprints that reveal how lands venerated by Native Americans are being plundered. It is this cultural contempt against which Edgar Heap of Birds is crusading.
While the notion of rock-climbing on Mount Rushmore is unthinkable, Edgar Heap of Birds reveals how just such desecration is happening at another hallowed ground: Bear’s House. The name Bear’s House may be unfamiliar; most of us know it by another name: Devils Tower. It is where the aliens landed in Close Encounters of the Third Kind. It is the first National Monument in the US, designated by President Theodore Roosevelt, and draws nearly half a million tourists annually. But Bear’s House is older than the US National Park Service and more important than a tourist attraction. This igneous butte, standing 875 feet tall, is a sacred site to many Native Americans: the Lakota, Arapaho, Cheyenne, Crow, Kiowa, and Shoshone. Yet platoons of climbers drive in spikes as they ascend it.
Nearly 1,000 miles southwest of Bear’s House stand the San Francisco Peaks outside of Flagstaff, Arizona. This area is a harvesting ground for sacred medicine plants used in healing and ceremony for the 300,000 tribal members of the Diné/Navajo nation. Here, waste water is being used to create artificial snow for skiing and snowboarding, causing a melt-off that is deadly and harmful to the numerous Diné medicine plants. Edgar Heap of Birds’ monoprint from this series succinctly skewers the careless pollution: CLEAN YOUR CHURCH WITH SEWER WATER.
The artist evokes the revered nature of Bear Butte in South Dakota in a print that reads THE HILLS WHERE PEOPLE ARE TAUGHT, referring to the site as a sanctuary of fasting and prayer for the Cheyenne people. Thousands of motorcyclists, however, descend upon the sacred site annually for the Sturgis Motorcycle Rally, named for the nearby small town of Sturgis, SD. Nearly half a million visitors a year gather on the sacred ground for corn dogs, country music and wet t-shirt contests. It is this place where Cheyenne people fast and renew vows with a commitment of four days without food or water.
Edgar Heap of Birds also turns our attention across the waters of the Pacific to the dormant volcano Mauna Kea, the largest of five sacred volcanoes on the island of Hawaii, rising nearly 14,000 feet above sea level. Despite the existence of four obsolete telescope structures at Mauna Kea, plans are underway for a new telescope structure on the summit, the most sacred place in the Hawaiian Islands. Protest, blockades and arrests have followed.
Writing in the Smithsonian Magazine about these plans, geographer Doug Herman described the conflict as “between two ways of knowing and being in the world.
“For many Native Hawaiians and other Indigenous peoples, sacredness is not merely a concept or label. It is a lived experience of oneness and connectedness with the natural and spiritual worlds. It is as common sense as believing in gravity. This experience is very much at odds with the everyday secular-humanist approach of Western thinking that emerged out of the Enlightenment and which sees no ‘magic’ or ‘enchantment’ in the world. And of course, seeing nature as inert facilitates both commercial exploitation and scientific exploration.”
Edgar Heap of Birds is more succinct: WE ARE LAND LAND IS US.
The exhibition and programming are generously supported in part by the Office of the Dean of Faculty at Pitzer College, Agnes Moreland Jackson Diversity Program Fund/Campus Life Committee, the Robert Redford Conservancy for Southern California Sustainability, and the Murray Pepper and Vicki Reynolds Pepper Distinguished Visiting Artists and Scholars Endowed Fund.
A survey of the work of Edgar Heap of Birds can also be viewed at Garis & Hahn art gallery in Los Angeles from February 10 to March 10, 2018.
Inside the Robot, 1970; Color pencil on paper; 22 1/2 x 30 in. (57.15 x 76.2 cm); Courtesy of the Estate of Juan Downey
Saturday, November 18, 2017
9:30 a.m.–3 p.m.
Benson Auditorium, Pitzer College
1050 N. Mills Ave., Claremont, CA 91711
In conjunction with the exhibition Juan Downey: Radiant Nature, part of the Getty-led Pacific Standard Time: LA/LA initiative, Inside the Robot: Reconsidering Cybernetics after Juan Downey traces the various strands of Chilean artist Juan Downey’s practice through the lens of second-order cybernetics as evidenced in Downey’s Electric Sculptures, Happenings and Performances, and Life Cycle Installations. This symposium will present a series of challenging and diverse viewpoints on the subject of cybernetics as defined by systems of interaction between the human, non-human, machinic, and digital entities.
9:30 a.m. Tea, Coffee, and Pastries
10 a.m. Keynote Address by Julieta González—Juan Downey: From the Responsive Eye to the Thinking Eye
Julieta González will address the inscription of Juan Downey’s work within the different techno-utopias that marked the intersection between art and cybernetics in the 1960s and 1970s. Her talk touches upon issues such as generative aesthetics, algorithmic and computational approaches, the machine extensions of humans, feedback, and communication in Downey’s early work. González explores the connection to parallel investigations by groups such as Nouvelle Tendance, GRAV and E.A.T., Downey’s incursion into video, and the role that feedback and playback played in his works from the early ’70s, from the performative dimension of his video-dances to the affiliation to ideas advanced by publications such as Radical Software. She will also look at the writings of Paul Ryan and Marshall McLuhan in terms of the subversive potential of television and video envisioned by countercultural movements. Her talk will also chart the major shifts in Downey’s work that coincided with the demise of cybernetics and the shift towards semiotics and language in the late 1970s and early 1980s, that, in his particular case, were also driven by his questioning of the disciplines of ethnography and anthropology.
11 a.m. Simon Penny—Happenings, Hallucinations and Homeostasis: The Technology Binge of the New York Artworld in the Cybernated, Psychedelic ’60s
Looking back from our contemporary techno-social context, it’s difficult to imagine life before iPhones, mobile computing, social media, texting, Skype, streaming video, GPS, location tracking and live navigation, VR, online gaming and all the other trappings of our high-speed broadband digital lifestyles. This talk will flesh out the techno-social context of the ’60s, specifically the ’60s art world, looking at the unlikely intersections of drug culture, cybernetics and the civil rights movement that blended into ’60s counterculture. Special emphasis will be placed on central concepts of the time and terms whose meaning has drifted or radically changed due to changes in technology, specifically the rise of digital computing in intervening decades.
Noon- 1 p.m.: Lunch
1 p.m. Rodrigo Alonso—Juan Downey’s Multidimensional Art
From his early technological works, Juan Downey tackles art as a complex production. This complexity doesn’t point to the creation of sophisticated pieces but to the necessity of enriching the viewer’s experience. The intellectual environment of his time as well as some ideas that come from his Latin American roots help Downey build an art of multiple dimensions that resists being understood as a whole. This presentation seeks to dive analytically into some of those dimensions in order to ponder the singular poetics of the Chilean artist.
2 p.m. Film screening of Beatriz da Costa’s Dying for the Other (2011-2012) followed by a short presentation on the work by Dr. Robert Nideffer
Dying for the Other (2011-2012) is Beatriz da Costa’s the last project before she passed away on December 27, 2012, at age 38. Dying for the Other is a triptych video installation, offering a parallel consideration of mice used in breast cancer research alongside scenes from the artist’s own life. Da Costa suffered from breast cancer and underwent intense medical treatment to combat the disease. Her installation addresses part of our collective social consciousness—pursuing the advancement of science and medicine, but doing so at the sacrifice of other “less intelligent” beings.
Julieta González is Artistic Director at Museo Jumex. Previously she was Adjunct Curator of Modern and Contemporary Art at the Museu de Arte de São Paulo, Senior Curator at the Museo Tamayo Arte Contemporáneo, Mexico City, and Adjunct Curator at the Bronx Museum of the Arts, New York. Between 2009 and 2012, she was Associate Curator of Latin American Art at Tate Modern. She was Curator of Contemporary Art at Museo Alejandro Otero (1999-2001) and Museo de Bellas Artes de Caracas from 2001-2003. Additionally, she was co-curator of the 2nd Trienal Poligráfica de San Juan, Latinoamérica y el Caribe with Jens Hoffmann and Beatriz Santiago. González has organized over 60 exhibitions including Memories of Underdevelopment at MCASD; A mão do povo Brasileiro and Playgrounds (with Adriano Pedrosa, Tomás Toledo and Luiza Proença) at MASP. At Museo Tamayo, Mexico City González curated: Stephen Willats: Man from the 21st Century (2015); Juan Downey: A Communications Utopia (2013); Rita McBride: Public Transaction (2013), and Jac Leirner: Functions of a Variable (2014). She has published numerous essays in exhibition catalogues and periodicals, including Afterall, The Exhibitionist, Flash Art, and Parkett. She holds an MA in Cultural Studies from Goldsmiths, University of London, and was a Helena Rubinstein Curatorial Fellow at the Whitney Independent Study Program (1997-1998). Additionally, she studied architecture at the Universidad Simón Bolívar, Caracas and the École d’Architecture Paris-Villemin, in Paris.
Rodrigo Alonso has a Master’s Degree in Art Theory specializing in contemporary art and new media. Additionally, he is a researcher and theoretician in the field of technology-based arts and performance in relation to Latin American artists. He has published numerous essays and books on the subject, including In Praise of Low-Tech. History and Aesthetics of Technology-Based Art in America Latina (2016); Calibrating/Designing Contexts. Curatorial Practices for Technology-Based Arts (editor, 2009); Jaime Davidovich: Video Works (2004); and Muntadas. Con-Texts. A Critical Anthology (editor, 2002). As independent curator, he has organized exhibitions worldwide. Recent exhibitions include: Seeing is Not Believing (Paris, 2016); Transitio_MX (México, 2014); Pop, Realisms, and Politics. Brazil/Argentina 1960s (Buenos Aires, Rio de Janeiro, 2012); Untimely Archeologies (Santiago de Chile, 2012); Situating No-Land (Philadelphia, 2011); and Tales of Resistance and Change (Frankfurt, 2010). In 2011, he curated the Argentine Pavilion at LIV Venice Biennale. He is a professor at the Universidad Nacional de las Artes (National University of the Arts), Buenos Aires, Argentina, and is an advisor for international art foundations.
Simon Penny is a professor of Electronic Art and Design at University of California at Irvine. He has worked at the intersections of computing and the arts for 30 years, building interactive systems that attend to embodied experience and gesture. His interactive, immersive and robotic installations, such as “Fugitive”, “Traces” and“Petit Mal” are sensitive to sensorimotor modalities of aesthetic response. He explore—through both artistic and scholarly work—dimensions of the fundamental problems encountered when machines for abstract mathematico-logical procedures are interfaced with cultural practices (such as aesthetic creation and reception), whose first commitment is to the engineering of persuasive perceptual immediacy and affect. These cultural practices mobilize sensibilities and non-propositional cognitive modalities alien to the technology and incompatible with its structuring precepts: the kinds of intelligence required by cultural practices—embodied and kinesthetic, situated and multi-modal. His book Making Sense:Cognition, Computing, Art and Embodiment is forthcoming from MIT Press. This book reviews computational and non-computational theories of cognition through the C20th and focuses on articulating a new aesthetic theory for interactive media, digital cultural practices, and the arts in general, which deploys contemporary embodied and post-cognitivist perspectives to provide a language for the discussion of cultural practices, attending to situated, embodied and enactive intelligences. He was director of A Body of Knowledge: embodied cognition and the Arts conference, UCI Dec 2016 (sites.uci.edu/bok2016) and An Ocean of Knowledge:pacific seafaring traditions, sustainability and cultural survival, UCI Oct 2017 (sites.uci.edu/OK17). Penny came to UCI in 2001 to establish the Arts Computation Engineering ACE interdisciplinary graduate program, which operated from 2003 -2011. Previously he was Professor of Art and Robotics at Carnegie Mellon, and European Professor of Interactive Environments. He was resident theorist on the faculty of the Cognitive Systems and Interactive Media Masters at Univerisity Pompeu Fabra Barcelona 2005-2013 and was Labex Professor at Université Paris 8 and ENSAD in 2014.
Beatriz da Costa (1974-2012) was an interdisciplinary artist and researcher. Participatory practice and interactions with non-academic publics represent a key component of her work. She is a former collaborator of Critical Art Ensemble and a co-founder of Preemptive Media, an arts, activism and technology group. Her work has been exhibited at national and international venues, including the Andy Warhol Museum, the Zentrum fuer Kunst und Medien in Germany, and the Natural History Museum in London. Her work has been written about in the New York Times, Reuters and the New Scientist. Da Costa was an Assistant Professor of Arts, Computation, Engineering at the University of California, Irvine.
Robert Nideffer is professor and head of the department of arts at Rensselaer Polytechnic Institute. He holds a PhD in Sociology (1994) and an MFA in Computer Arts (1997), from the University of California, Santa Barbara. From 1998-2013 he was a Professor of Art at the University of California, Irvine. From 2005-2007 he served as Co-Director, and from 2007-2009 Director, of the Art Computation Engineering (ACE) graduate program, housed between the School of the Arts, the School of Information and Computer Science, and the School of Engineering. His work has been exhibited at a variety of national and international venues including the Museo Nacional Centro de Arte in Spain; the Laguna Art Museum in Laguna Beach, California; the Museum of Modern Art in New York, and the 2002 Whitney Biennial. He has lectured extensively both inside and outside the academy, and his projects have been discussed in major media outlets including books, journal articles, television, the internet, film and radio.
This symposium is free and open to the public.
This program and the exhibition Juan Downey: Radiant Nature are part of Pacific Standard Time: LA/LA, a far-reaching and ambitious exploration of Latin America and Latino art in dialogue with Los Angeles, taking place from September 2017 through January 2018 at more than 70 cultural institutions across Southern California.
Major support for this program and exhibition is provided through grants from the Getty Foundation.
Additional Support: Dirección de Asuntos Culturales, DIRAC, Ministerio de Relaciones Exteriores, Embassy of Chile
Pasadena Art Alliance
Estrellita B. Brodsky
Consulate of Chile in Los Angeles
Opening Reception: Friday, April 28, 5 p.m. Nichols Gallery, Broad Center, Pitzer College
Strands of Redis inspired by many of the ideas explored in the spring 2017 Faculty Art Show. Specifically, this exhibition addresses the ongoing and reciprocal relationship between artistic practice and natural processes.
Rachel is a sophomore at Pitzer College majoring in anthropology and environmental analysis.
Lenzner Family Art Gallery
January 26 – March 30, 2017
Opening Reception:January 26, 5-7 pm
Distance In/Formation is a collaborative work by Los Angeles-based artists Johanna Breiding, Rebecca Bruno, Yann Novak, and Willy Souly that draws on landscapes in the distance between Los Angeles and Claremont. Featuring two media artists and two dancers, the project focuses on the intersection of dance, video, sound, and aesthetics as a means to explore the extension of body in space. Inhabiting queer identities, the project creates a space in which different architectures, geographies, and subjectivities are manifested and extend beyond the physical constraints of site and the body itself.
This exhibition focuses on the legacy of the Pitzer College Art Field Group and its dedication to progressive ideas around environmentalism and art. Work made by Tim Berg (Rebekah Myers), Sarah Gilbert, Tarrah Krajnak and Jessica McCoy will be discussed in the context of work made by Carl Hertel, David Furman, Michael Woodcock, Kathryn Miller and Paul Faulstich that have contributed to the conversation.
Related Events: Bill Anthes in conversation with Paul Faulstich
Friday, February 17 at 1:30 pm
Nichols Gallery, Broad Center, Pitzer College
Conversation with Tim Berg, Sarah Gilbert, Tarrah Krajnak and Jessica McCoy
Wednesday, March 1 at Noon
Broad Performance Space, Pitzer College
All events are free and open to the public.
The Faculty Art Show is generously supported by art + environment, a four-year project at Pitzer College funded by the Andrew W. Mellon Foundation, Office of the Dean of Faculty, Campus Life Committee and Teaching and Learning Committee at Pitzer College.
Kang Seung Lee: Untitled (Artspeak?) September 12 – December 11, 2015
Curated by Ciara Ennis
Pitzer College Art Galleries
56 pages, with color reproductions, 11.75” x 9.75”
Essays by Ciara Ennis, Leslie Dick, Jen Hutton
Catalogue design by SoYun Cho
Photography by Ruben Diaz
Environmental scientists have begun to refer to our current era as the anthropocene, a new geological epoch in which human activities have become the primary shapers of the earth’s environment and ecological systems, producing climate change, mass extinctions of non-human species and other significant transformations on a global scale. Whether these changes are reversible is uncertain.
On a smaller scale—such as we can observe in our neighborhoods, cities and local landscapes—anthropogenic change gives rise to surprising and unanticipated interactions among species. Mark Dion, Jessica Rath and Dana Sherwood explore these transformations and transactions in the shifting ecotomes—or contact zones between human and non-human worlds—in the multifaceted works included in The Ocelots of Foothill Boulevard.
Brownfield sites and other highly polluted zones, thought incapable of yielding anything at all, have become flourishing habitats for exotic or so-called “invasive” species. Vacant office building, dead shopping malls and decommissioned military installations have become host to new flora and fauna—they are emergent “second nature” habitats in which productive interconnected multi-species communities flourish. One such site exhibiting these unforeseen interactions is the ruin of a historic infirmary, located at the foot of the San Gabriel Mountains in northeastern Los Angeles County. Built in the 1930s, it functioned for many years as a health facility for students of The Claremont Colleges. Ravaged by fires, earthquakes and other natural disasters, the infirmary was condemned and abandoned by the early 1970s. A recovering landscape, the building and the parcel of land in which it sits is today host to non-native grasses, Coast Live Oaks and a diverse community of biota—mammalian, avian, insect and amphibian—as well as researchers and students who have made their homes and laboratories in and around the shuttered building.
Taking the multi-species habitat of the infirmary as a reference point, Dion, Rath and Sherwood have excavated the shared non-human and human histories that have populated the area during the past 80 years. In addition to this local site, the artists have extended their forensic gaze to other “second nature” habitats of a terrestrial as well as an aquatic nature. Traversing time and temperate zones, these explorations, while acknowledging the deleterious effects of humans on earth, also signal the unintended value that habitat conversions and co-species habitations can have in the anthropocene.
The Ocelots of Foothill Boulevard is generously supported by art+environment, a four-year project at Pitzer College funded by the Andrew W. Mellon Foundation and the Robert Redford Conservancy for Southern California Sustainability at Pitzer College.
Artist Lecture Mark Dion: The Wonder Workshop, Jellyfish and Sleeping Bears
Saturday, January 23 at 2 p.m., prior to exhibition reception
Broad Performance Space, Broad Center, Pitzer College
Vocal Performance by Cris Law
Saturday, January 23 at 4 p.m.
Nichols Gallery, Broad Center, Pitzer College
Thursday, March 3 at 2 p.m.
Broad Performance Space, Broad Center, Pitzer College