Nichols Gallery

    Catalogue cover - Juan Downey: Radiant Nature
  • Catalogue – Juan Downey: Radiant Nature

    Juan Downey: Radiant Nature
    Pitzer College Art Galleries: September 9 – December 8, 2017
    LACE: September 13 – December 3, 2017
    Curated by Robert Crouch and Ciara Ennis
    260 pages, with color reproductions, 8.5” x 11”
    ISBN: 978-09966445-2-5
    Introduction by Robert Crouch and Ciara Ennis
    Essays by Bill Anthes, Ciara Ennis, Julieta González, Ming-Yuen S. Ma, Grant Wahlquist
    Interview with Marilys Downey by Stuart Comer
    Catalogue design by Tanya Rubbak
    Text edited by Elizabeth Hamilton
    Photography by Robert Wedemeyer
    Printing by The Avery Group at Shapco Printing

    This catalogue was printed in an addition of 1,200 copies and is available through Pitzer College Art Galleries and Los Angeles Contemporary Exhibitions (LACE).

    Also available through D.A.P./Distributed Art Publishers, Inc.
    75 Broad Street, Suite 630, New York, NY 10004 www.artbook.com

    This catalogue is published with the assistance of the Getty Foundation

    Both the catalogue and the exhibition Juan Downey: Radiant Nature is 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.



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    Edward Heap of Bird - Mount Rushmore Pound Spikes In
  • Edgar Heap of Birds: Defend Sacred Mountains

    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
    Pitzer College

    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.

     



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    Jessica McCoy, Compositional Study for Room (2016), Collage
  • Faculty Art Show: Tim Berg (Rebekah Myers), Sarah Gilbert, Tarrah Krajnak, Jessica McCoy, and Friends

    Co-curated by Bill Anthes and Ciara Ennis

    Nichols Gallery
    January 26 – March 30, 2017

    Opening Reception: January 26, 5-7 pm

    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.



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    Patty Chang and David Kelley, Route 3 (2011), Three-channel synchronized HD video projection, 27:21 min
  • Far from Indochine

    Guest curated by Chương-Đài Võ
    September 10–December 9, 2016

    Opening Reception:
    Saturday, September 10, 2:30-4:30 p.m.

    Nichols Gallery, Broad Center

    Lecture by Guest Curator, Chương-Đài Võ
    Wednesday, September 7 at 11 a.m.
    Room 210, Broad Hall

    Artist Lecture: Site and the Imaginary
    Saturday, September 10 at 1:30 p.m.
    Broad Center Performance Space, Broad Center

    Patty Chang and David Kelley join us to discuss their collaborative video work Route 3, which is currently on view at the Pitzer College Art Galleries in the Far from Indochine exhibition, and a selection of other projects. While the pair work across a wide range of mediums and disciplines, from sculpture, drawing and photography to film, performance and new media, at the core of their collaboration is the intersection of site and the imaginary.

    Route 3 is their recent video about a newly completed highway in rural Laos. Connecting China to Thailand through the former Golden Triangle, the new highway has accelerated Chinese development of Lao agricultural and gambling industries, and the migration of rural Lao minority populations to the growing roadside towns. The video considers the enigmatic changes in the visual landscape through performance and sculpture.

    Panel Discussion: Modernism: Western Fantasies of the Orient
    Wednesday, October 5 at 11 a.m.
    Broad Center Performance Space, Broad Center

    Panelists: John Tain, Curator, Modern and Contemporary Collections, Getty Research Institute; Wendy Cheng, Assistant Professor, American Studies, Scripps College; Viet Le, Artist and Professor, California College of the Arts; and Dewey Ambrosino, Artist and Professor, CalArts and Art Center College of Art and Design.

    Generous funding for this event is provided by the Pitzer College Campus Life Committee.


    Far from Indochine
    engages with the myths and ideas that shaped modernism and inform contemporary imaginings of Southeast Asia. In conversation with the recent 40th anniversary of the end of the Vietnam War, the exhibition brings together five artists from France and the U.S. Through film, photography, sculpture and embroidered cloth, these artists provoke questions about perceptions of and in Cambodia, Laos and Vietnam. The exhibition is an assemblage of illegible screens that recall and refract fantasies about another world.

    Organized by curator Chương-Đài Võ, Far from Indochine features three projects by Dewey Ambrosino, Patty Chang and David Kelley, and Frédéric Dialynas Sanchez and Jean-Sébastien Grill.

    Route 3, a film by Patty Chang and David Kelley, takes viewers along a new Silk Road that serves as a stage for local and transnational imaginings about modernity in Laos. Multiple storylines and images pop in and out of the frames, continually interrupting each other and unsettling narratives of economic development.

    The installation Hiding in the Light by Dewey Ambrosino offers a ghostly dance of night-vision photographs of an insect farm in Cambodia, and a sculpture of a Hindu and Buddhist protector deity. The juxtaposition of the mundane and the spiritual aligns with centuries-old practices that view the micro within the infinite time and space of the cosmic.

    Triangle, by Frédéric Dialynas Sanchez and Jean-Sébastien Grill, plays with the celebratory and conflicting politics of nationalism by merging the Cambodian, Vietnamese and Laotian flags. The billboard-size cloth decontextualizes political symbols, appropriating the authority of the state and advertisements for the desires and platitudes of global capitalism.

    Far from Indochine addresses definitions of the modern and the contemporary, the blurry boundaries between appropriation and innovation, and artistic and curatorial strategies in and about Asia. The exhibition originated as part of the Curatorial Opportunity Program at New Art Center in Newtonville, MA.

    About the Artists

    Dewey Ambrosino, Hiding in the Light (2012) Dewey Ambrosino, Hiding in the Light (2012), Installation: Caturmaharaja sculpture—acacia wood (63 x 12 x 13 in.), archival inkjet prints (nine 29 x 44 in. each), ink on masa paper (43.25 x 81.5 in.), mylar debossing (44 x 55.25 in.), entomology pins, mylar (22 ft.) and two stage lights, Dimensions variable

    Dewey Ambrosino received undergraduate degrees in Sculpture and Industrial Design from University of Illinois, Chicago, and an MFA in Art from CalArts. Based in Los Angeles, he is a current faculty member at CalArts and Art Center College of Design. His practice examines the relationship between aesthetic phenomena and cultural conditioning through a wide variety of media. Ambrosino has performed and exhibited throughout the US, Europe and Asia.

    Patty Chang and David Kelley, Route 3 (2011), Three-channel synchronized HD video projection Patty Chang and David Kelley, Route 3 (2011), Three-channel synchronized HD video projection, 27:21 min

    Patty Chang works primarily with performance and video art. She has had solo exhibitions at institutions such as Museum of Modern Art, New York; New Museum, New York, Hammer Museum, Los Angeles; Museet Moderna, Stockholm, Sweden; Museum of Contemporary Art, Chicago; and Fri-Art Centre d’Art Contemporain Kunsthalle, Fribourg, Switzerland. Chang is a 2014 Guggenheim Fellowship recipient.

    Jean-Sébastien Grill is a graphic designer based in Nancy, France. An advocate of “Do It Yourself” and nomadism, Grill studied visual arts at ESAL in Metz and Épinal (2002/2007). Since 2010, he and Frédéric Dialynas Sanchez have worked together on projects in Geneva, Dijon, Mosset, Saigon and Shanghai. Their video “Night at The Observatory” was shown in Amsterdam while their flip book “Night on Earth” was published in (Re)Collecting the Vietnam War, a special issue of The Asian American Literary Review.

    David Kelley’s work is research-based, internationally produced video installation and photography. His recent projects dealt with themes of infrastructure space, modernization, landscape, the margins of art history and the instrumentalization of art in the built environment. His work has been shown at Museum of Modern Art in New York, DeCordova Museum and Sculpture Park in Lincoln, MA, Commonwealth and Council in Los Angeles, MAAP Space in Brisbane, Bank in Shanghai and Beirut in Cairo. Kelley is assistant professor of art at Wellesley College in Massachusetts.

    Frédéric Dialynas Sanchez and Jean-Sébastien Grill, Triangle (2016) Frédéric Dialynas Sanchez and Jean-Sébastien Grill, Triangle (2016), Embroidery and thread on cloth, 10 x 15 ft.

    Frédéric Dialynas Sanchez lives and works in France and Vietnam. He completed post-graduate studies in Lyon (ENBA, 2008/2009) and Shanghai (École Offshore, 2013/2014). His work focuses on abstraction, collective identities and cultural bricolage. He has participated in numerous projects in Saigon, Hanoi, Shanghai, New York, Boston, Montréal, Fujiyoshida, Rotterdam, Amsterdam, Vienna and Paris.

    About the Curator

    Chương-Đài Võ is an independent curator based in Hong Kong, where she works for Asia Art Archive as the Researcher for Southeast Asia. Her exhibitions have been selected in curatorial competitions sponsored by apexart in New York City, New Art Center in the Boston area, and Dorsky Gallery in Long Island City. She is a former Mellon Postdoctoral Fellow at Massachusetts Institute of Technology and has received fellowships and grants from Asian Cultural Council, Fulbright Program, the National Endowment for the Humanities and University of California Pacific Rim Research Program. She has a PhD from University of California, San Diego, and a BA from Johns Hopkins University.



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  • Juan Downey: Radiant Nature

    Curated by Robert Crouch and Ciara Ennis
    Pitzer College Art Galleries and Los Angeles Contemporary Exhibitions (LACE)

    Pitzer: September 9–December 8, 2017
    Opening Reception: Saturday, September 9, 3-5 p.m.

    LACE: September 13–December 3, 2017
    Opening Reception: Wednesday, September 13, 7-10 p.m.

    Juan Downey: Radiant Nature is a two-part exhibition on the early works of Chilean-born artist Juan Downey as part of the Getty’s Pacific Standard Time: LA/LA initiative exploring the vast subject of Latin American and Latino art in dialogue with Los Angeles.

    From the late 1960s until the mid-1970s, Juan Downey (b. Chile, 1940; d. New York, 1993) pioneered interactive, participatory artworks that helped shape his better-known multichannel video installations such as Video Trans Americas (1973–76) and The Thinking Eye (1974–89). The works that make up Downey’s Electronic Sculptures (1967–71); Happenings and Performances (1968­–75); and Life Cycle Installations (1970­–73) take radically different forms, but they share similar strategies; conceived as vehicles for interactivity, they are intended to be played with or participated in rather than passively observed.

    Downey was especially interested in the potential of technology to facilitate viewer participation, transform social relations, and forge new modes of communication between organic elements or environments and machines or machinic systems. Borrowing ideas from second-order cybernetics, he conceived the organic and technological aspects of his work as relational, operating in tandem and alterable by feedback. Viewer-participants interfacing with the Electronic Sculptures, for example, may trigger an array of outcomes—sounds, colored lights, projections—depending on their actions. Similarly, Downey imagined participants in his Happenings and Performances as part of an unpredictable, amorphous system in which performers, video cameras, closed-circuit televisions, laser beams, and viewer-participants are working together. The Life Cycle Installations create an interdependence between organic and machinic elements—plants, soil, and insects and electronic sensors, cameras, and television monitors—demonstrating Downey’s belief in the potential of cybernetics to solve large-scale environmental issues by rebalancing relationships between humans, technologies, and ecologies.

    Related Events:

    Symposium on Cybernetics
    Saturday, November 18, 10 a.m.–3 p.m.
    Benson Auditorium, Pitzer College

    Exhibition Publication Launch
    Sunday, December 3, 1–4 p.m.
    Doing Things Together: Presentation by Grant Wahlquist 2–3 p.m.
    LACE
    6522 Hollywood Blvd., Los Angeles

    Juan Downey: Radiant Nature

    Curaduría Robert Crouch y Ciara Ennis

    Pitzer College Art Galleries
    9 de septiembre – 8 de diciembre, 2017

    Los Angeles Contemporary Exhibitions (LACE)
    13 de septiembre – 3 de diciembre, 2017

    Juan Downey: Radiant Nature es una exposición en dos sedes enfocada en la obra temprana del artista nacido en Chile Juan Downey que forma parte de Pacific Standard Time: LA/LA, una iniciativa de la Getty dedicada a explorar la amplía temática del diálogo entre el arte latinoamericano y latino y la ciudad de Los Ángeles.

    Desde finales de la década de 1960 y hasta mediados de la siguiente, Juan Downey (Chile, 1940 – Nueva York, 1993) concibió obras de arte interactivas y participativas que antecedieron y dieron forma a sus instalaciones más conocidas de video multicanal como Video Trans Americas (1973–76) y The Thinking Eye (1974–89). Las obras que conforman las Esculturas Electrónicas de Downey (1967–71); sus Happenings y Performances (1968–75); y las instalaciones de Life Cycle (1970–73) se manifiestan de manera radicalmente distinta pero comparten estrategias similares; planteadas como vehículos de interacción, su intención es propiciar el juego y la participación en vez de la observación pasiva.

    Downey estaba particularmente interesado en la capacidad de la tecnología para facilitar la participación del espectador, transformar las relaciones sociales y forjar nuevos modelos de comunicación entre elementos y ambientes orgánicos y sistemas mecanizados. A partir de teorías de la cibernética de segundo orden, planteó los aspectos orgánicos y tecnológicos de su trabajo como simbióticos, operando en conjunto y capaces de alterarse mutuamente a través de retroalimentación. Por ejemplo, dependiendo de la acción que lleven a cabo los espectadores-participantes al interactuar con las Esculturas Electrónicas pueden activar cualquiera de una serie de respuestas: sonidos, luces de colores o proyecciones. De una manera parecida, Downey imaginaba a los integrantes de sus Happenings y Performances como parte de un sistema amorfo e impredecible en el que colaboraban participantes, videocámaras, televisores en circuito cerrado, rayos láser y espectadores activos. Las instalaciones de Life Cycle articulan una simbiosis entre elementos tecnológicos y orgánicos—plantas, tierra, insectos, sensores electrónicos, cámaras y monitores televisivos—que demuestra la creencia de Downey en el potencial de la cibernética para resolver problemas ecológicos masivos al alterar el equilibrio de la relación entre humanos, tecnologías y ecologías.

    Recepción de apertura
    Pitzer College Art Galleries: Sábado, 9 de septiembre, 3-5 p.m.
    LACE: Miércoles, 13 de septiembre, 7-10 p.m.

    Simposio sobre cibernética
    Sábado, 18 de noviembre 10 am-3 pm
    Auditorio George Benson, Pitzer College

    Lanzamiento de publicación de la muestra
    Domingo, 3 de diciembre, 1-4 p.m.
    LACE
    6522 Hollywood Blvd., Los Angeles

    Traducción: Javier Rivero

    Press Release

    Award-winning Writer David Goldblatt Reflects on Juan Downey: Radiant Nature

    Juan Downey: Radiant Nature is 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 Juan Downey: Radiant Nature provided through grants from the Getty Foundation.

    Logo: The Getty Foundation

    Additional support is generously provided by Dirección de Asuntos Culturales, DIRAC, Ministerio de Relaciones Exteriores, Embassy of Chile; Pasadena Art Alliance; Estrellita B. Brodsky; and Consulate of Chile in Los Angeles.

    Badge: Embassy of Chile Ministry of Foreign Affairs Logo: Pasadena Art Alliance

     

     

    In-kind support is provided by Human Resources Los Angeles.

    This exhibition is organized by Pitzer College Art Galleries and Los Angeles Contemporary Exhibitions (LACE).

    LACE Logo Los Angeles Contemporary Exhibitions

    Image:

    Energy Fields (1972); Photographic documentation from video-performance, 112 Greene Street, New York, February 1972; Dimensions: 6.30 x 9.45 inches (16 x 24 cm); Courtesy of the Estate of Juan Downey; Photo: Peter Moore © Estate of Peter Moore/VAGA, New York

    Energy Fields (1972); Documentación fotográfica de un video-performance realizado en 112 Greene Street, Nueva York, febrero de 1972; dimensiones: 6.30 x 9.45 pulgadas (16 x 24 cm); cortesía del Estate of Juan Downey; Fotografía: Peter Moore © Estate of Peter Moore/VAGA, Nueva York.

     

    More Pacific Standard Time: LA/LA exhibitions at the Claremont Colleges:

    Pomona College
    Pomona College Museum of Art presents Prometheus 2017: Four Artists from Mexico Revisit Orozco from August 29 to December 16, 2017.
    Events on Saturday, September 9:
    Opening reception: 5-7 p.m.
    Gallery Talk with artist Rita Ponce de León and scholar and catalog essayist Daniel Garza Usabiaga: 4-5 p.m.
    FMI: www.pomona.edu

    Scripps College
    Ruth Chandler Williamson Gallery presents Revolution and Ritual: The Photographs of Sara Castrejón, Graciela Iturbide and Tatiana Parcero from August 26, 2017 to January 7, 2018.
    Events on Saturday, September 9:
    Opening reception: 7-9 p.m.
    Panel Discussion with the Writers: 1-2 p.m.
    Tea: 2-3 p.m.
    Panel Discussion with the Artists: 3-4 p.m.
    FMI: rcwg.scrippscollege.edu

     



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    Horizontal (2012); 12 by 16 inches; oil on linen
  • Liat Yossifor: Time Turning Paint

    September 12-December 11, 2015
    Nichols Gallery

    Opening Reception

    Saturday, September 12, 3-5 p.m.
    Nichols Gallery, Pitzer College Art Galleries

    Panel Discussion

    “The Politics of Painting”
    Wednesday, September 30, 4:15 p.m.
    Nichols Gallery, Broad Center, Pitzer College

    Panelists: Artists Liat Yossifor and Nery Gabriel Lemus, with Kevin Appel, UC Irvine professor of art and Joanna Roche, Cal State Fullerton professor of art history. Moderated by Christopher Michno, writer, critic and independent curator.

    This panel discussion is generously supported by the Frederick J. Salathé Fund for Music and the Cultural Arts.

    Artist Lecture

    Artists Liat Yossifor and Iva Gueorguieva in conversation with David Pagel, critic, curator and professor of art theory and history at Claremont Graduate University
    Wednesday, November 11, 4:15 p.m.
    Nichols Gallery, Broad Center, Pitzer College

    Painting - The Rider The Rider (2014); 16 by 12 inches; oil on linen

    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: Time Turning Paint, 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 Abstract Expressionism is 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.

    About the Artist

    Painting Detail: The Rider Detail: The Rider (2014); 16 by 12 inches; oil on linen

    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).



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    Senior Art Exhibit 2016 - NINE
  • NINE: Senior Art Exhibition 2015

    Adrian Brandon
    Hall of Fame is meant to provoke thought on how marginalized lives are valued in today’s society, and to begin a dialogue about how entertainment affects society’s perception of young people of color. By using trading cards and posters, my work shows how our society glorifies the lives of professional athletes, yet disregards the lives of the minorities who are not entertaining the country with lightning quick crossovers, back-breaking tackles and effortless home runs.

    Cameron Carr
    My current focus is dedicated to putting emphasis on race and its social ramifications. I’m interested in shining light on the effect race has on the public in regards to people consciously or unconsciously perpetuating the system of oppression. In my recent video works, I’ve made spatially palpable the issues of being a black body within a post-slavery and post-largely oppressive environment of racial abuse, as well as the tensions formed through the process of racism being reconfigured and changing throughout the timeline of modern day. I’m committed to making predominantly white societies, schools, communities, cultures, work forces and institutions aware of these dislocations, highlighting issues that all too often remain unconscious.

    Raz Krog
    I focused on the intersection between form and function in the automotive, motorcycle and aircraft industries. I strive to define an adrenaline-filled and athletically stimulating lifestyle through my strategic use of stills and motion pictures. By playing with the language of mainstream advertising, I’ve created a body of work composed of stories that range from motor vehicle advertisements to character-driven documentaries. My final project looks at the militarization of our nation’s airports and urges viewers to question, “What are we protecting?”

    Rocío Medina
    I was born and raised in Los Angeles. While I have experimented with political subjects, I always seem to draw on personal experience. My intimate experiences are more compelling when expressed through the markings of my hands and body. My subjects are personal, reflecting childhood and loss. Being an only child, I became accustomed to solitude and temporary periods of abandonment, which carried on to my adulthood through my romantic relationships.

    Leah Pomerantz
    Connecting my artistic practice to my career goals as a veterinarian I bring my love of animals and biology into my drawings and paintings. My current work depicts animals typically perceived as inferior beings. Through illustrating “undesirable” animals at human scale and in vibrant color, I am trying to dismantle the anthropocentrism of the average viewer and have them understand these animals in a new way.

    Ari Saperstein
    When creating an artwork, the concept and message always come first, long before I know what physical form it will take; while I’ve spent most of my time at Pitzer making drawings and videos, my final piece is an interactive performance piece. Inspired by innovative artists like Tino Sehgal, Marina Abramovic and Janet Cardiff, my work explores communication by engaging the audience, challenging our tendency to avoid vulnerability by hiding behind digital walls.

    Leonard Schlör
    I use sound, film and performance as a means of exploring somatic representation of human relationships. My movement is deeply influenced by my study of the Alexander Technique and inspired by the dynamic, confrontational choreography of Pina Bausch. Bell hooks has grounded the theory of relationship intentionality and loving in my work. My fluid sense of home began in Boston and has continued through Pittsburgh, Germany, central Illinois.

    Dan Stranahan 
    I use studio portrait photography, combined with cyanotype or “sun” printing to create photographs that are about the attitudes college students have toward their surrounding material world. By involving peers in the sun printing process, my hope is that they will feel empowered to question and strengthen their own philosophy of objects and, in doing so, become better users and makers rather than buyers and consumers.

    Alyssa Woodward
    #takecareofyourself is an audience-driven installation that shows how different levels of balance and self control create an exploration of what is considered to be “healthy.” This installation is also a reflection for the audience to not forget to treat yourself. Treating yourself is the first step in taking care of yourself. So indulge to satisfy that sweet-tooth craving with the treats provided, and enjoy.



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    Wunderkammer Catalog Cover
  • Wunderkammer

    January 24–March 26, 2015
    Nichols Gallery, Broad Center
    Curated by Ciara Ennis

    Stephanie Syjuco, Cargo Cults (Head Bundle) (2013/2014), C-print, 40 x 30 inches Studio portrait using mass-manufactured goods, purchased on credit and returned for full refund after photoshoot. Courtesy of the artist and Catharine Clark Gallery Stephanie Syjuco, Cargo Cults (Head Bundle) (2013/2014), C-print, 40 x 30 inches Studio portrait using mass-manufactured goods, purchased on credit and returned for full refund after photoshoot. Courtesy of the artist and Catharine Clark Gallery

    Joshua Callaghan, Chris Cobb, Michael Decker, José Clemente Orozco Farías, Clare Graham (MorYork), Nina Katchadourian, Alice Könitz, Elana Mann, Rachel Mayeri, Melanie Nakaue, Jenny Perlin, Steve Roden, Vivian Sming, Stephanie Syjuco, Chris Wilder, Jenny Yurshansky and First Street Gallery Art Center artists: Herb Herod, Evan Hynes, Joe Zaldivar

    In contrast to current museological models that derive their practices from their nineteenth century counterparts, the wunderkammer—generally regarded as a prototype for the first museums—can provide an alternative. Distinguished by their eclectic and all-encompassing collections, these early museums celebrated heterogeneity and difference as accolades—objects collected ranged from functional everyday artifacts to biological anomalies. Their interdisciplinary and all-inclusive practice resulted in a non-hierarchical approach; value was assigned according to the object’s polyvalent signifying power, its ability to be endlessly interpreted rather then categorically determined. As their name suggests, these museums championed wonderment as a vital tool for knowledge acquisition.

    By providing a different rubric, these early models can offer an alternative lens to critique prevailing exhibitionary practices by calling attention to the codes and conventions of current display strategies, chronological placements, and exhibition typologies. By interrogating these classificatory norms it is possible to examine how these taxonomic structures dictate behavior in other areas of our lives—labor, leisure, culture—and by extension their impact on how we self identify or are identified by others—race, class, sexuality, gender. As a result, the wunderkammer model provides an opportunity to examine how knowledge is produced and disseminated, controlled and manipulated.

    Steve Roden …I listen to the wind that obliterates my traces: Music in Vernacular Photographs, 1880-1955 (2011) Found photograph, Dimensions variable Steve Roden …I listen to the wind that obliterates my traces: Music in Vernacular Photographs, 1880-1955 (2011) Found photograph, Dimensions variable

    Through the objects and installations, the artists and practitioners in the exhibition explore these ideas through the production of archives—fictional and real; via unique and eclectic cosmologies; by privileging the mundane and forgotten above the conventionally celebrated; the historical as a part of the contemporary; and the nonprofessional versus the established. Furthermore, through the use of specific representational systems these artists reveal and critique established ideological constructs that govern issues of inclusion and exclusion within the contemporary museum.

    Wunderkammer is a set of connected exhibitions at Pitzer College’s Nichols Gallery and Barbara Hinshaw Gallery, and the First Street Gallery Art Center of the Tierra del Sol Foundation.

     



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  • Racial Imaginary

    Nichols Gallery

    September 20 – December 5, 2014

    Artists: Liz Cohen, Edgar Endress, EJ Hill, Todd Gray, John Jota Leaños, Nery Gabriel Lemus, Charles McGill, Amitis Motevalli, Dread Scott, Alice Shaw, Kyungmi Shin, Texist, Ian Weaver and Jay Wolke

    racial-imaginary-Paar1 Amitis Motevalli Confiscated Portrait of the Artist as a Young Rebel (2005/2010) Digital C-print Dimensions variable

    Racial Imaginary is an interdisciplinary exhibition that looks at the intersection of poetry, prose and contemporary art. It is a further iteration of the book and will feature the visual artists who have struggled alongside their literary counterparts in constructing a creative discourse that focuses on its subjects not as objects, of individual outlines discernable apart from the overwhelming contrast of their landscape. The creative imagination is framed by its palpable confines; the history of women is primarily written in relationship to men, of Blacks (and others) in relation to Whiteness. How does an artist—literary, visual, performative—contrive a vernacular that is rich and evocative but doesn’t reproduce familiar narratives and binaries?

    Edgar Endress Still from Acts of Erasure nº2 (2014) Video 00:55 min. Edgar Endress Still from Acts of Erasure nº2 (2014) Video 00:55 min.

    The show forms part of a larger project that includes a book of the same title edited by award-winning poet Claudia Rankine, who just received the prestigious Jackson Poetry Prize for exceptional US poets, and author Beth Loffreda from the University of Wyoming. The book examines race, gender and cultural representations, and comprises poems and essays, which have been further articulated through the addition of artworks, curated into the book, by artist, Max King Cap.

    Related Events

    Opening Reception

    Saturday, September 20, 2-4 p.m.
    Nichols Gallery

    Alice Shaw Opposite #5 (2007) Gold toned gelatin silver print Diptych, 8 x 10 in. each

    Artist Lecture

    Thursday, October 9, 11 a.m.
    Nichols Gallery

    Artist Amitis Motevalli will join Professor Bill Anthes and his First Year Seminar students to discuss her work.

    The Annual Murray Pepper & Vicki Reynolds Pepper Distinguished Visiting Artist & Scholar Lecture Series

    Monday, November 10, 4:15 p.m.
    George C.S. Benson Auditorium

    In conjunction with the exhibition, Claudia Rankine will discuss her book Racial Imaginary with co-editors, Beth Loffreda and Max King Cap.

     “Art in Writing” workshop led by Claudia Rankine, Beth Loffreda and Max King Cap

    Tuesday, November 11, 11 a.m.

    All events are free and open to the public.

    About the Artists

    Claudia Rankine is the author of four collections of poetry, including Don’t Let Me Be Lonely and the plays, Provenance of Beauty: A South Bronx Travelogue (co-authored with Casey Llewellyn). Rankine is co-editor of American Women Poets in the Twenty-First Century series (Wesleyan University Press). Forthcoming in 2014 are That Were Once Beautiful Children (Graywolf Press) and The Racial Imaginary (Fence Books). A recipient of fellowships from the Academy of American Poets and the National Endowment for the Arts, Rankine teaches at Pomona College.

    Liz Cohen’s performance art/photography has been shown extensively throughout the US and Europe. Cohen is represented by Salon 94, Galerie Laurent Godin and David Klein Gallery. She is an artist-in-residence at the Cranbrook Academy of Art.

    Edgar Endress teaches new media and public art at George Mason University. Born in Chile, he has exhibited extensively throughout the Americas. His work focuses on syncretism in the Andes, displacement in the Caribbean and mobile art-making practices. He received his MFA in Video Art from Syracuse University. He has received grants and fellowships from numerous institutions, including the Virginia Museum of Fine Arts and the Creative Capital Fund.

    EJ Hill is a performance artist who continually struggles with the complexity of the body’s cultural and historical inheritances and implications. A native of South Central Los Angeles, Hill’s work has been exhibited throughout the US and internationally. He received his MFA from the University of California, Los Angeles.

    Todd Gray is a professor of art at California State University, Long Beach. Gray has shown his work throughout the US and internationally. He is represented in the permanent collections of the National Gallery of Canada; San Francisco Museum of Modern Art; Los Angeles County Museum of Art; MOCA, Los Angeles; University of Parma  in Italy; and other collections. He received his BFA and MFA from California Institute of the Arts.

    John Jota Leaños is a social art practitioner who utilizes a range of media focusing on the convergence of memory, social space and decolonization. His work has been shown at the Sundance 2010 Film Festival and the 2002 Whitney Biennial, among others. Leaños is a Creative Capital Grantee and a Guggenheim Fellow (2013) who has been an artist-in-residence at many institutions. Leaños is an associate professor of social documentation at the University of California, Santa Cruz.

    Nery Gabriel Lemus is a Los-Angeles based artist whose work addresses issues of stereotype and immigration, the intersection of racial and dissociative racism; and the poverty, abuse and neglect that can lead to the failure of families. Lemus is a recipient of a COLA Fellowship Grant from the Department of Cultural Affairs, Los Angeles, and the Rema Hort Mann Foundation Fellowship Award. He is represented by Charlie James Gallery in Los Angeles. Lemus received his BFA at Art Center College of Design in Pasadena and his MFA at the California Institute of the Arts. He also attended the Skowhegan School of Painting and Sculpture in Maine.

    Charles McGill is a multidisciplinary artist whose work has been exhibited in the US and Europe and has been reviewed in The New York Times and Art in America. A recipient of the 2014 recipient of the distinguished Pollock Krasner Foundation Grant, an Art Matters and New York Foundation for the Arts grant, as well as fellowships from the Ford Foundation and the Virginia Center for the Creative Arts, he is a former artist-in-residence at the Museum of Arts and Design in New York. McGill received an MFA from the Maryland Institute College of Art and is is an Assistant Professor at The Borough of Manhattan Community College in in NYC. He is represented by Pavel Zoubok Gallery in New York.

    Amitis Motevalli was born in Iran and moved to the US in 1977, prior to the revolution. She explores the cultural resistance and survival of people living in poverty, conflict and war. Her working-class immigrant background drives her art that contests stereotypical beliefs about people living in diaspora and criticizes of the violence of dominance and occupation, while invoking the significance of secular grassroots struggle. Motevalli works with transnational Muslims, across economic and political borders, to create an active and resistant cultural discourse. She lives and works in Los Angeles.

    Dread Scott makes revolutionary art to propel history forward. In 1989, the entire US Senate denounced his artwork and President George H. Bush declared it “disgraceful” because of its use of the American flag. His work is exhibited in the US and internationally. A recipient of a Creative Capital Grant, his work is included in the collection of the Whitney Museum of American Art.

    Alice Shaw is an artist and educator based in San Francisco, CA. Her photographs have been shown internationally. Shaw is represented by Gallery 16 in San Francisco. A graduate of the San Francisco Art Institute and a recipient of a 2002 Artadia Award, Shaw often infuses personal/reflexive documentation with humor and poignancy. She has practiced photography for more than 25 years and she has been a visiting lecturer at University of California, Davis, University of California, Santa Cruz, University of California, Berkeley, San Francisco State University, The California College of Art and The San Francisco Art Institute. Her book, People Who Look Like Me, was published in April of 2006.

    Kyungmi Shin, a sculptor and an installation artist, has received grants from the California Community Foundation, Durfee Grant, Pasadena City Individual Artist Fellowship and LA Cultural Affairs Artist-in-Residence program. Since 2004, she has created numerous public art projects across the nation, including Los Angeles, CA, Winston-Salem, NC, Chicago, IL, and Norfolk, VA. She received her MFA from UC Berkeley.

    Ian Weaver is a Chicago-based visual artist and teaches in South Bend, IN. He received his MFA in Visual Art from Washington University in St. Louis and his work has been seen at many museums. He has been a recipient of numerous residencies, including Yaddo and the Millay Colony, and his awards include grants from Artadia and the Joan Mitchell foundations.

    Jay Wolke is an artist and educator living in Chicago. He has authored three photographic monographs, including most recently Architecture of Resignation: Photographs from the Mezzogiorno (Center for American Places– Columbia College Press, 2011). Wolke earned his BFA at Washington University, St. Louis and his MS at IIT Institute of Design. His photographs are in many permanent collections. He is a professor and chair of the Art and Design Department, Columbia College, Chicago.



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    Anonymous demanding justice for a teen raped by members of the high school football team, Steubenville, OH, 2013. Photo: Andrea Bowers
  • #sweetjane

    ONE EXHIBITION IN TWO PARTS
    Pitzer College Art Galleries
    January 21-March 28, 2014

    Pomona College Museum of Art
    January 21-April 13, 2014

    The exhibition “#sweetjane” includes new work by Los Angeles-based artist Andrea Bowers that examines the notorious Steubenville, Ohio, high school rape case. In addition to a new series of drawings, “#sweetjane” comprises a video based on Bowers’s three trips to Steubenville that documents the protest surrounding the trial and activities of “hacktivist” group Anonymous. Her return to Ohio to document the Steubenville case is a form of personal mapping of thirty years of violence against women.

    The exhibition unfolds over two campuses and is the second collaborative project between the Pomona College Museum of Art and the Pitzer College Art Galleries.

    Related Events

    OPENING RECEPTIONS
    Saturday, January 25, 5-6 pm
    Nichols Gallery, Pitzer College Art Galleries

    Saturday, January 25, 6-7 pm
    Pomona College Museum of Art

    LECTURE: MARIA ELENA BUSZEK
    Wednesday, March 12, 4:15 pm
    George C.S. Benson Auditorium, Pitzer College. Reception to follow at the Nichols Gallery, Pitzer College Art Galleries.

    Maria Elena Buszek is an associate professor of art history at the University of Colorado, Denver, and the Bowers catalogue essayist.

     



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