Spring 2015

    Card Catalogue and Cards: Blacklisted
  • Catalogue – Blacklisted

    Blacklisted: A Planted Allegory (Recollections) is an artist edition, which contains distinctly textured components. It is a box that contains original images, short poetic narratives, a plastic-coated index sheet, an introductory essay by Glenn Harcourt, and an interview with the Jenny Yurshansky and Ciara Ennis. It is a record of the 133 invasive plant species that make up this project’s collection and is the final result of four years of research. This publication was developed as the last component tied to the exhibition, Jenny Yurshansky: Blacklisted: A Planted Allegory, curated by Ciara Ennis, Director and Curator, Pitzer College Art Galleries, it took place January 24 to March 26, 2015.
    ISBN: 978-0-9966445-3-2
    Catalogue design by Stephanie Estrada
    Photography by Jenny Yurshansky

    This catalogue was printed in an edition of 200 copies, with special edition of 15 with blacklisted plant (Placeholder), is available through Jenny Yurshansky at  PayPal or Venmo.



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    Photo: Claremont Colleges Memorial Infirmary (c. 1931)
  • The Ocelots of Foothill Boulevard: Mark Dion, Jessica Rath, Dana Sherwood

    Curated by Bill Anthes and Ciara Ennis
    Pitzer College Art Galleries
    January 23 – March 31, 2016

    Opening Reception: Saturday, January 23, 3-5 p.m.

    Photo Gallery of the Opening Reception

    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.

    Related Events

    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

    Panel Discussion
    Thursday, March 3 at 2 p.m.
    Broad Performance Space, Broad Center, Pitzer College



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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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    Blacklisted: A Planted Allegory (Incubation), 2014
  • Blacklisted: A Planted Allegory

    Emerging Artist Series #9: Jenny Yurshansky

    January 24 – March 26, 2015
    Lenzner Family Art Gallery

    Blacklisted: A Planted Allegory investigates the distinction between native versus invasive species as determined by the California Invasive Species Advisory Committee, a scientific organization charged with creating a statewide “living list” of invasive species since late 2009. The discourse surrounding a list of “invasive” or “alien” flora and fauna species has interesting and fruitful correlations to policies regarding immigration, multiculturalism and evolving ideas about national identities that are inherently tied to the identity of border cultures. The project allows viewers to engage in a meaningful and nuanced way with how these issues are thought of in direct and applicable terms.

    Jenny Yurshansky: Hot House Hot House

    Blacklisted: A Planted Allegory takes a number of forms, including a comprehensive index of the invasive species found on-site; a large-scale projection—a portrait of all the plants collected and a record of their growth during June 2014; and a light-box image of their incubated sequestration. The exhibition also features two sculptural works, one of which is an index of the more than 100 plants collected, in the style of a classic botanical herbaria rendered in detailed handmade paper silhouettes. The second sculpture refers to the Harvard Museum of Natural History’s Ware Collection of Glass Models of Plants, which is a window into the common presence in 1892 of what are now rare California native plants. This piece, which features a seemingly empty vitrine, is a nod to the fears of the ultimate disappearance of natives in the wake of the encroachment by alien species that fuels the discourse around this issue.

    Related Programming

    The Botany Seminar Series at Ranch Santa Ana Botanic Garden
    Friday, March 6

    Dr. Peter Del Tredici, Senior Research Scientist, Arnold Arboretum at Harvard University
    and Adjunct Associate Professor of Landscape Architecture, Harvard Graduate School of Design

    Logos - Konstnarsnamnden, art+environment, ghr

    Blacklisted: A Planted Allegory­ has been produced with support by Konstnärsnämnden / Swedish Arts Grant Committee.

    The exhibition is also generously supported by the GuestHaus Residency, Kungliga Konsthögskolan / Stockholm Royal Institute of Art, and art+environment – an interdisciplinary program at Pitzer College funded by the Andrew W. Mellon Foundation.

    With very special thanks to:

    Pitzer College

    • Joe Clements, Arboretum and Grounds Manager, Pitzer College
    • Ciara Ennis, Director/Curator, Pitzer College Art Galleries
    • Dr. Paul Faulstich, Professor of Environmental Analysis, Pitzer College
    • Nicolas Galindo, Lead Groundskeeper, Pitzer College
    • Cheukwa Jones, Curatorial/PR Coordinator, Pitzer College Art Galleries
    • Rachel Kessler ’14, Assistant to the artist, Pitzer College
    • Dr. Muriel Poston, Vice President/Dean of Faculty, Pitzer College
    • Lance Neckar, MLA, MALA, Director, Robert Redford Conservancy for Southern
      California Sustainability and Professor of Environmental Analysis, Pitzer College
    • Angelica Perez, Preparator, Pitzer College Art Galleries

    Pomona / BFS

    • Dr. Wallace M. Meyer III, Assistant Professor of Biology, Pomona College and Director of the Bernard Field Station, Claremont, CA
    • Ronald Nemo, Lead Groundskeeper, Pomona College

    Harvey Mudd / BFS

    • Dr. Nancy V. Hamlett, Visiting Professor of Biology, Harvey Mudd College; Volunteer Researcher and Habitat Coordinator at the Bernard Field Station, Claremont, CA

    Keck Science Department, Claremont Colleges

    • Dr. Susan M. Schenk, Biology Laboratory Instructor/Coordinator and Lab Lecturer of Biology, W.M. Keck Science Department, Claremont Colleges

    Scripps College

    • Fred Carlson, Lead Groundskeeper, Scripps College
    • Lola Trafecanty, Director of Grounds, Scripps College
    • Liv Townsend ’14, Documentation Photographer, Scripps College

    Rancho Santa Ana Botanic Garden

    • Dr. J. Travis Columbus II, Research Scientist; Professor of Botany, Claremont Graduate University
    • Nick Jensen, Master’s Student, Claremont Graduate University Botany Department
    • Evan P. Meyer, Seed Conservation Program Manager, Rancho Santa Ana Botanic Garden
    • Dr. Jeffery Morawetz, Postdoctoral Researcher, Rancho Santa Ana Botanic Garden
    • Dr. Mare Nazaire, Herbarium Collections Manager, Rancho Santa Ana Botanic Garden
    • Irene Holiman, Library Specialist, Rancho Santa Ana Botanic Garden

    Other Affiliations

    • Jenny Brown, Collection Manager, Ware Collection of Blaschka Glass Models of Plants, Harvard University Herbaria
    • Dr. Peter Del Tredici, Senior Research Scientist, Arnold Arboretum of Harvard; University and Adjunct Associate Professor of Landscape Architecture, Harvard Graduate School of Design
    • Lisa DeCesare, Head of Archives and Public Services, Botany Libraries, Harvard University Herbaria
    • Mary Anne Hamblen, Special Collections & Archives Librarian, Juliette K. and Leonard S. Rakow Research Library, The Corning Museum of Glass
    • Dr. Chris MacDonald, Desert Natural Resources Advisor of Cooperative Extension San Bernardino County, University of California Division of Agriculture and Natural Resources
    • Robert Perry, FASLA, USC School of Artchitecture Adjunct Professor, Professor Emeritus at California State Polytechnic University
    • Nisreen Azar, Habitat Restoration Specialist at Glenn Lukos Associates, Inc.
    • Noreen Murano, President of Wildscape Restoration, Inc. and the CEO of Resource Conservation Partners, Inc.
    • Bill Neill, Desert Protective Council
    • Drew Ready, Sustainable Landscape Program Manager at the Council for Watershed Health


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    David Bachman, Mathematical Anesthetics
  • Mathematical Anesthetics

    David Bachman - Mathematical Anesthetics

    David Bachman, Professor of Mathematics, Pitzer College

    January 24 – February 27, 2015
    Barbara Hinshaw Gallery, Grove House

    Organized by Pitzer College Art Galleries

    Comprising prints, flowcharts (graphical algorithms) and objects, Bachman’s work straddles the physical and mathematical world. Through translations of mathematical equations into three-dimensional models Bachman transfigures objects derived from the every day into complex and intricate forms that resemble midcentury modern aesthetics. Deploying a 3D printer, Bachman’s mathematical abstractions are produced in a variety of materials, including plastic, sandstone, ceramic and metal.

    David Bachman is a Professor of Mathematics at Pitzer College in Claremont, California. He received his PhD in 1999 from the University of Texas at Austin, and has since published 16 research articles and two books on Geometry and Topology. For the last 25 years Bachman has also enjoyed a number of non-academic pursuits, from lighting design for nationally touring musical acts to building furniture. Six years ago Backman’s background in Mathematics and his affinity for working with his hands converged when he began to experiment with 3D printing and design. Since then he has created unique mathematical sculptures by using several CAD modeling packages (Rhino 3D, Grasshopper), a variety of 3D printers and a garage full of tools.



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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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    Wunderkammer Catalog Cover
  • Catalogue – Wunderkammer

    Wunderkammer
    January 24 – March 26, 2015
    Curated by Ciara Ennis
    Pitzer College Art Galleries
    105 pages, with color reproductions, 8″ x 6″
    ISBN: 978-0-9966445-0-1
    Foreword by Glenn Harcourt
    Essays by Christopher Michno and Ciara Ennis
    Catalogue designed by Stephanie Estrada



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