Spring 2013

    Authentificaiton: Pitzer College Senior Thesis Exhibtion 2013
  • 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.

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    Image: Untitled (2012); Mixed media; Dimension variable; Courtesy of the artist
  • 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

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    Red Cruella (2010); Color photographs, text; 20 1/4 x 29 1/4 in. framed; Edition of 5, 2AP; courtesy of the artist
  • 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.

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