Fall 2013

  • Cattle in the Amazon

    Jaider Esbell

    October 10 – November 27, 2013

    Barbara Hinshaw Gallery, Grove House;
    McConnell Living Room, McConnell Center

    The exhibition presents paintings that reflect on indigenous and global discourses of nature, sustainability, and development in the Amazon. There is a particular concern with the cosmologies and historical experiences of the Macuxi Indians and other groups of Northern Brazil. Macuxi artist Jaider Esbell is spending the semester at Pitzer as a visiting professor.

    The exhibition is funded by Art+Environment program, the Pitzer College Art Galleries, and the External Studies Department. Curated by Daniel Segal.

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    Video stills from On the Rocks, In the Land (2013); ©Danielle Adair
  • 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.

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    Le dejeuner sur l’herbe: trois femmes noires, 2010. Courtesy of the artist, Susanne Vielmetter Los Angeles Projects, Lehmann Maupin, NY and Artists Rights Society (ARS), New York

    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.

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