Fall 2012

    LEFT: Castor (2008/2012) | Fiber-based silver gelatin hand-printed photograph (from ambrotypes) | 33.5 x 25.2 inches | Edition of 3/5. RIGHT: Chrysanthemum (2008/2012) | Fiber-based silver gelatin hand-printed photograph (from ambrotypes) | 23.6 x 17.3 inches | Edition of 3/5.
  • 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 Kahungunel 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 spawn, the Ngati Kahungunel 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.



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    Catalogue Cover - Charles Gaines
  • 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



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    Charles Gaines in collaboration with Hoyun Son; Black Ghost Blues Redux (2008); Single-channel video; Courtesy of the artist and Susanne Vielmetter, Los Angeles Projects
  • 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



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