Pitzer College Art Galleries

Fall 2015Pitzer College Art Galleries exhibition Wunderkammer
Archive Journal

March 16, 2015Pitzer College Art Galleries exhibition Wunderkammer
Artillery Magazine

March 6, 2015Pitzer Art Galleries exhibition Blacklisted: A Planted Allegory
Artbound, KCET

February 27, 2015Pitzer Art Galleries exhibition Blacklisted: A Planted Allegory
notes on looking

January 21, 2015Pitzer Art Galleries exhibition Blacklisted: A Planted Allegory
Los Angeles Magazine

January 21, 2015 Pitzer College Art Galleries exhibition Wunderkammer
Inland Valley Daily Bulletin

December 5, 2014 Pitzer College Art Galleries exhibition Racial Imaginary
The Student Life

November 18, 2014 Pitzer College Art Galleries exhibition Racial Imaginary
Artillery Magazine

February 21, 2014 Pitzer College Art Galleries exhibition Andrea Bowers: #sweetjane, co-organized with Pomona College Museum of Art
Inland Valley Daily Bulletin

February 18, 2014 Pitzer College Art Galleries exhibition Andrea Bowers: #sweetjane, co-organized with Pomona College Museum of Art
Los Angeles Times

February 7, 2014 Pitzer College Art Galleries exhibition Andrea Bowers: #sweetjane, co-organized with Pomona College Museum of Art
The Student Life

February 7, 2014 Pitzer College Art Galleries Exhibition Arthur Dubinksy: The Life and Times of Pitzer College
The Student Life

February 6, 2014 Pitzer College Art Galleries exhibition Andrea Bowers: #sweetjane, co-organized with Pomona College Museum of Art

January 24, 2014 Pitzer College Art Galleries exhibition Andrea Bowers: #sweetjane, co-organized with Pomona College Museum of Art
Visual Art Source

January 21, 2014 Pitzer College Art Galleries exhibition Andrea Bowers: #sweetjane, co-organized with Pomona College Museum of Art

January, 2014 Pitzer College Art Galleries exhibition Andrea Bowers: #sweetjane, co-organized with Pomona College Museum of Art
Art Scene

September, 2013 Pitzer Art Galleries exhibition GLPYHS: Acts of Inscription
Inland Empire Weekly

March, 2013 Pitzer Art Galleries exhibition Joyce Campbell: Te Taniwha/Crown Coach
Art in America

March, 2013 Pitzer Art Galleries exhibition Joyce Campbell: Te Taniwha/Crown Coach
Art in America

February 07, 2013 Pitzer Galleries exhibition Martha Wilson
Inland Empire Weekly

Nov/Dec 2012 Pitzer Art Galleries exhibition In the Shadow of Numbers: Charles Gaines Selected Works from 1975-2012, co-organized with Pomona College Museum of Art

October 2012 Pitzer Art Galleries exhibition In the Shadow of Numbers: Charles Gaines Selected Works from 1975-2012, co-organized with Pomona College Museum of Art
Notes on Looking

October 2012 Pitzer Art Galleries exhibition Joyce Capbell: Te Taniwha/Crown Coach
Notes on Looking

June/July 2012 Pitzer Art Galleries exhibition Liz Glynn: No Second Troy

April 2012 Pitzer Art Galleries exhibition Liz Glynn: No Second Troy

February 2012 Pitzer Art Galleries exhibition Matthew R. Ohm: Vanitas
Tropo Mfg

February 2012 Pitzer Art Galleries exhibition Liz Glynn: No Second Troy
Art Scene

January 14, 2012 Pitzer Art Galleries exhibition Liz Glynn: No Second Troy

November/December, 2011 Pitzer Art Galleries exhibition Synthetic Ritual
LA Weekly

November/December, 2011 Pitzer Art Galleries Perpitube: Repurposing Social Media Spaces
Artillery Magazine

October 20, 2011 Pitzer Art Galleries Synthetic Ritual
Inland Valley Daily Bulletin

September 27, 2011 Pitzer Art Galleries exhibition Synthetic Ritual
Huffington Post

September 09, 2011 Pitzer Art Galleries exhibition Synthetic Ritual

2015 Senior Art Show

April 30–May 16, 2015
Nichols Gallery, Broad Center
Lenzner Gallery, Atherton Hall

Adrian Brandon, Cameron Carr, Raz Krog, Rocío Medina, Leah Pomerantz, Ari Saperstein, Leonard Schlör, Dan Stranahan, Alyssa Woodward

Gallery of featured artwork



Cargo Cult

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.

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

Opening Receptions:
Saturday, January 24
2-4 p.m. at Nichols Gallery, Broad Center
3-5 p.m. at First Street Gallery Art Center

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

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.

Sorted Books project

Nina Katchadourian
The series Once Upon a Time in Delaware/In Search of the Perfect Book (2012)
From the Sorted Books project, C-prints, 12.5 x 19 inches


David Bachman, professor of mathematics, Pitzer College

Organized by Pitzer College Art Galleries
Barbara Hinshaw Gallery, Grove House, Pitzer College
January 24 – February 27, 2015 

Cosmologies: John Boyer, Evelyn Campos, Victor Frias, Evan Hynes, Dru McKenzie, Hector Oviedo and Helen Rae

Curated by Ciara Ennis and Christopher Michno ’91
First Street Gallery Art Center
January 24 – March 20, 2015 

Chris Cobb, Upland Public Library Intervention

Organized by Pitzer College Art Galleries
Upland Public Library
January 24 – March 26, 2015 

Panel Discussion: Wunderkammer: the Past as a Radical Model for the Future
Thursday, February 19 at 2 p.m.
Broad Center Performance Space, Pitzer College
Panelists: artists Joshua Callaghan, Clare Graham (MorYork) and Alice Könitz, with Carina Johnson, Pitzer College professor of history and Rachel Mayeri, Harvey Mudd College associate professor of media studies. Moderated by Ciara Ennis, director/curator, Pitzer College Art Galleries.

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

Chris Cobb’s installation at Nichols Gallery is a partnership between the Friends of the Upland Public Library, Upland Public Library and Pitzer College Art Galleries.

David Bachman

January 24 - February 27, 2015

Barbara Hinshaw Gallery, Grove House

Organized by Pitzer College Art Galleries
By appointment only

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.

Emerging Artist Series #9
Jenny Yurshansky:
Blacklisted: A Planted Allegory


Blacklisted: A Planted Allegory (Incubation), 2014

January 24 - March 26, 2015
Lenzner Family Art Gallery, Pitzer College Art Galleries

Opening Reception
Saturday, January 24, 2-4 p.m.
Nichols 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.

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 Programing: 
The Botany Seminar Series at Ranch Santa Ana Botanic Garden 
Friday, March 6 at 4pm
Dr. Peter Del Tredici, Senior Research Scientist, Arnold Arboretum at Harvard University 
and Adjunct Associaate Professor of Landscape Architecture, Harvard Graduate School of Design
FMI: http://www.rsabg.org/research?catid=147:articles&id=639:research-seminar-series

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

Claremont College
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 Associaate 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

FALL 2014

Racial Imaginary

Nichols Gallery

September 20 – December 5, 2014

Racial Imaginary

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?

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.

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

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

Opening Reception

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

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

Racial Imaginary

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

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.


Takuji Kogo & Mike Bode / American Sitcom

A *candy factory project
September 20 – December 5, 2014
Lenzner Family Art Gallery


Sill from American Sitcom(2014)

American Sitcom is a new site-specific work by Takuji Kogo and Mike Bode of Candy Factory made for Pitzer College Art Galleries. A multi-channel video installation, American Sitcom uses text animations of transcriptions of monologues taken from online V-loggers’ videos that have been uploaded to YouTube. The artists’ subjects cover such disparate ground as divorce experiences, porn addiction and commentaries from people wanting to join the Air Force. These text animations have been overlaid onto animated backgrounds which have been adapted from online sources such as GIF animations, desktop designs, forum avatars, furry toys and cartoons, many of which carry references to pop art, wallpaper designs, and various forms of popular culture. The resulting work is both visually stunning and at the same time disarmingly familiar. American Sitcom asks the audience to consider how we engage with cyber culture, specifically, what kinds of online environments do we inhabit? Who are we talking to when we upload a testimonial and, what kind of visual languages do we use? 

Mining the Internet for visual and domestic content, Kogo and Bode have meticulously animated transcriptions of voices—word for word—using flash-based software. Although American Sitcom employs “real” peoples’ monologues it is not a documentary work, instead it uses and re-uses everyday online media as material. American Sitcom is presented as a multi-channel installation in the gallery space and uploaded to YouTube and distributed online. 

Opening Reception

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

Artist lecture in conjunction with the exhibition and Pitzer College’s Munroe Center for Social Inquiry (MCSI) event:

Tuesday, September 16, 4 p.m.
Kallick Gallery, West Hall

Artists Takuji Kogo and Mike Bode will discuss their works on this year’s MCSI lecture series, themed: Virus: Mindless, Efficient and without Morals.

All events are free and open to the public.

About the Artists

Japan-based artist Takuji Kogo is the organizer of Candy Factory Projects. He has produced a large body of work both as a solo artist and in various collaborations. His ongoing solo project NON_SITES is a series of photo-sculptures, digital kaleidoscopes made by looped and mirrored sequence shots taken from moments of standardized everyday life environments. He has presented his work at MediaScope-MOMA/The Museum of Modern Art, New York; Media City Seoul, South Korea; Singapore Art Museum; MAAP Multimedia Art Asian Pacific, Beijing; Walker Art Centre, Minneapolis; Yokohama Triennale, Japan; Nam June Paik Art Centre, Seoul, South Korea; and the Tokyo Metropolitan Museum of Photography. Takuji Kogo is the director of the Art Institute Kitakyushu, which organizes the Kitakyushu Biennial, and lives in Fukuoka, Japan.

Mike Bode is a visual artist and researcher based in Sweden. He is presently working on a research project Re-configuring actuality, which is an enquiry into the construction and configuration of material taken from online media. He is also developing a discursive platform in Stockholm with the publisher Max Valentin called PLASMODIA, which organizes talks, discussions, presentations and exhibitions with the aim of critically exploring new media and the use of new technologies and their contextualization in documentary art practice. He received a PhD at the University of Gothenburg in 2008 and has presented and exhibited work at Kunst Werke in Berlin; The Rooseum in Malmö; The Center of Contemporary Art in Vilnius, Lithuania; The Nobel Museum in Stockholm; Secession in Vienna and the Kitakyushu Biennial in Japan. He has been a member of *candy factory projects since 2001. Mike Bode is based in Stockholm.

(dis)order - Senior Thesis Exhibition 2014

Virginia Anton, Heather Bejar, Juliana Bernstein, Corinne Monaco, Yeyo Nolasco, Maiana Radack Krassner, Maggie Shaffran, Pete Siegel, Elena Thomas, XL Wee, Jaya Williams

May 1-17, 2014

Pitzer College Art Galleries:
Nichols Gallery, Broad Center
Barbara Hinshaw Memorial Gallery, Grove House
Salathé Gallery, McConnell Center

Sleep to Dream

Site-specific installation by Martin Durazo '90
January 21-May 17, 2014
Lenzner Family Art Gallery, Pitzer College Art Galleries

Black Flag Macrame
    • Detail, Black Flag Macramé (2013)
    • Plexiglass mirror, aluminum rod, macramé rope, raku ceramic bead

  • Opening reception: Thursday, January 23, 2014 at 5 p.m.

    Closing reception and catalogue launch of Martin Durazo’s Sleep to Dream exhibition:
    Saturday, May 3, 2014, 2–4 p.m.
    Lenzner Family Art Gallery,
    Pitzer College Art Galleries
    *The artist will be present for a book signing

    The idea of housing a large population of strangers from varied backgrounds is a time-honored tradition among institutions of higher education. However, as a result of this abrupt integration, the student is torn between desiring social acceptance and the need for solitude and existentialist reverie. The physical remnants of this dynamic are embodied in the customization of the individual’s dorm room with personal effects and use of limited furnishings. This aesthetic formula privileges the visual over the verbal, creating an environment for the softening of differences and a condition for personal freedom.

    Martin Durazo’s installation explores dorm-room aesthetics using a combination of his own personal objects merged with found and collected artifacts from Pitzer’s archive. Included are large mirrored components offering occasions for self-reflection and relational participation with others in the environment. Referencing iconic socio-political and historically-specific moments, several objects, such as a replica of Huey P. Newton’s peacock wicker chair, will be re-examined through the lens of rave culture using a fluorescent painterly approach. The same painting treatment will be applied to hanging macramé and disparate artifacts.

    As a gesture to Pitzer College’s 50th Anniversary celebrations, additional elements will be woven into the fabric of the installation that reference Durazo’s own experiences as a student and dormitory dweller. These individualized memories will be combined with oral narratives from several Pitzer alumni and mementoes sourced from Pitzer’s archives that reveal a complex and hidden world of varying social interrelations.

    Arthur Dubinsky: The Life and Times of Pitzer College

    January 21-May 17, 2014
    Founders Room, McConnell Center, Pitzer College

    Arthur Dubinksy
    • Edward Sampson, Associate Professor of Social Psychology, holds two bumper stickers: “International Days of Protest Vietnam Day Committee, Oct. 15–16” and “Stop the War Machine.” Taken September 16, 1965 in his office.

  • Panel discussion in conjunction with the exhibition and catalogue launch:
    Saturday, May 3, 2014, 11:15–12:30 p.m.
    Founders Room, McConnell Center, Pitzer College

    Panel discussion:
    The Intimate Visual History of Pitzer
    will explore the spatial dynamics of the campus and its psychological impact on the intimacy of Pitzer culture.

    Lew Ellenhorn, Professor Emeritus of Psychology at Pitzer College
    Paul Faulstich, Professor of Environmental Studies at Pitzer College
    Char Miller, W.M. Keck Professor of Environmental Analysis and Director, Environmental Analysis Program at Pomona College
    Sheryl Miller, Professor of Anthropology at Pitzer College
    Lance Neckar, Professor of Environmental Analysis and Director, Robert Redford Conservancy for Southern California Sustainability at Pitzer College

    Moderated by Stuart McConnell, Professor of History at Pitzer College

    The Life and Times of Pitzer College surveys photographs by Arthur Dubinsky from 1964 through 1978 documenting the community and campus of Pitzer College. Revealing the unique culture of Pitzer’s early days, Dubinsky’s work documents the College’s compelling evolution from a fledgling women’s college with only three graduates in 1965 to a robust, student-driven, co-ed campus with almost 200 graduates only 15 years later.

    The photographs are grouped around themes which explore aspects of college life, including dorm room culture and campus life; campus development and construction; the College’s unique system of shared faculty and student governance; and Commencement and special events. These images reflect the rich visual history and singular identity of Pitzer College.

    In addition to the photographs, audio excerpts from oral history interviews with Pitzer students from 1968 through 1996 will be on iPods, providing a range of perspectives on life at the College. An illustrated catalogue will accompany the exhibit, which will include an introduction by Pitzer College President Laura Skandera Trombley and a brief biography of Arthur Dubinsky.


    Pitzer College Art Galleries
    January 21-March 28, 2014

    Pomona College Museum of Art

    January 21-April 13, 2014

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

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

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

    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.

    Nichols Gallery, Pitzer College Art Galleries
    1050 N. Mills Avenue, Claremont, CA 91711

    Tuesday-Friday, 12-5 pm or by appointment

    Pomona College Museum of Art
    333 N. College Way, Claremont, CA 91711

    Tuesday-Sunday, 12-5 pm, closed Monday
    Art After Hours: Thursdays 5-11 pm


    Curated by Renée Mussai and Ruti Talmor

    Zanele Muholi | Faces and Phases
  • Zanele Muholi | Faces and Phases, 2006-present
    Silver gelatin prints, 20 x 30 inches. Courtesy of Stevenson Cape Town and Johannesburg.
  • September 19 – December 5, 2013
    Nichols Gallery and The Kallick Family Gallery, Pitzer Art Galleries

    Opening Reception: September 19, 6-8 p.m.

    Artists: John Akomfrah, Cheryl Dunye, Rotimi Fani-Kayode, Lyle Ashton Harris, Zanele Muholi, Mwangi Hutter, Andrew Putter, Mickalene Thomas and Carrie Mae Weems

    GLYPHS: ACTS OF INSCRIPTION builds on the premise that identities are constituted through acts of inscription—real or imagined—into the visual archives that constitute history, popular iconographies and artistic canons. GLYPHS probes the consequences of such acts on the poetic and political dimensions of representation, difference and visibility.

    The exhibition program is funded by the Andrew W. Mellon Foundation, the Pitzer College Art Galleries, the Pasadena Art Alliance, the Pitzer College Forum Fund, the Murray Pepper & Vicki Reynolds Pepper Distinguished Visiting Artist & Scholar Lecture Series Endowed Fund and the Endowed Fund for Media Studies.

    For more information and full schedule of events: www.pitzer.edu/galleries/glyphs

    Emerging Artist Series # 8: Danielle Adair: On the Rocks in the Land

    Lenzner Family Art Gallery, September 19 – December 6, 2013

    Danielle Adair
  • Video stills from On the Rocks, In the Land (2013)
    ©Danielle Adair
  • The documentary-performance-video installation, On the Rocks, In the Land analyzes the role of ‘tourist-observer,’ within contemporary ‘conflict zones,’ and questions how a ‘tourist’ perceives and experiences sites of historic and contemporary political significance. The project incorporates experiences of and around the peace lines of Belfast, the Berlin Wall, the Stone Walls of New England, the US-Mexican border in Ciudad Juárez and the Occupy Wall Street Movement. By highlighting these sites, the exhibition explores the notion of ‘play’ as a persistent and ethical form of resistance in relation to the physicality of a ‘wall’ as defined by these specific locations. Although exploring the intersection of place, politics, and play in these sites, the project resists the urge to enforce a dominant narrative, seeking instead to excavate unfamiliar forms of resistance and protest.

    Jaider Esbell

    Jaider Esbell

  • Cattle in the Amazon

    Barbara Hinshaw Gallery, Grove House;
    McConnell Living Room, McConnell Center
    October 10 – November 27, 2013

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

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


    Senior Thesis Exhibition 2013
    April 25-May 18, 2018
    Nichols Gallery, Broad Center
    Lenzner Family Art Gallery, Atherton Hall
    Barbara Hinshaw Memorial Gallery, Grove House

    Martha Wilson

    January 26 - March 22, 2013

    Nichols Art Gallery, Pitzer College Art Galleries

    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.

    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.

    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.

    Martha 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.

    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, Pitzer College Art Galleries

    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

    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
    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.

    Joyce Campbell: Te Taniwha / Crown Coach

    September 15 – December 7, 2012

    Pitzer Art Galleries, Pitzer College

    Opening reception: Saturday, September 15, 2-4 pm
    An Opening Ceremony, Powhiri (Blessing) will be performed by Maori native and historian, Richard Niania.

    Artist lecture: Thursday, September 13 at 2:45 pm at Nichols Gallery, Pitzer College

    Panel Discussion: Tuesday, September 25 at 2:45 p.m. Broad Performance Space, Broad Center, Pitzer College
    Panelists include: Edgar Heap of Birds, Cheyenne Arapaho artist and professor of Native American studies and fine arts at the University of Oklahoma; Leda Martins, associate professor of anthropology, Pitzer College; Stacey McCarroll Cutshaw, editor of exposure; and artist Joyce Campbell. The panel will be moderated by Bill Anthes, associate professor of art history, Pitzer College.

    New Zealand artist, Joyce Campbell, presents two recent series of photographic works that explore the history, mythology, and ecology of two sites: one located on Maori tribal land in New Zealand, the other a brown-field in Los Angeles. Te Taniwha explores Lake Waikaremoana, in Te Reinga—situated on Ngati Kahungunel tribe territory—and follows the quest to find two ancient snake-like water species: the Taniwha and the giant longfin eel. A place of great historical significance, where mid-nineteenth century colonial wars were fought against English occupying forces, Te Reinga remains a contested space where land, water, beach and forest rights are continually sought and fought over. In addition, Lake Waikaremoana has rich and layered mythological associations, whose fantastical sea creatures are believed to have spawn, the Ngati Kahungunel tribe.

    Crown Coach Botanical series, made on-site also using nineteenth century ambrotype techniques, documents the botanical specimens growing in a polluted industrial site in downtown Los Angeles known as the Crown Coach brownfield. Part of a larger series titled “LA Botanical” Joyce Campbell uses these ambrotypes to chart the needs and resources of the Los Angeles inhabitants becoming a “survival guide” of edible and medicinal plants that have grown in Los Angeles since the city’s birth. This manifestation paints Los Angeles as a field of abundant life as opposed to an industrial wasteland.

    Bringing these two series of work together—Te Taniwha and Crown Coach—provides an opportunity to discuss the spiritual and symbolic connections between the two sites through the use of 19th century spiritual photographictechniques. And presents an opportunity to explore the relationship betweensacred plants and traditions, land rights and access (public and private), both pertinent to Te Taniwha and Los Angeles.

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

    Warren Neidich

    Artistic Research in the 21st Century: Turning the Inside-Out

    Tuesday, November 13, 2012

    4:15 - 5:30 p.m., George C.S. Benson Auditorium, Pitzer College

    In his work, Warren Neidich explores how cultural practices—be they concrete poetry, experimental film, feminist performance, post-colonial literature or noise music—disrupt the conditions of designed and mediated space, and in doing so, provide new capacities with which the brain might script the mind's imagination. Warren Neidich has exhibited at PS1-MOMA, New York; The Whitney Museum of American Art, New York; LACMA, Los Angeles; The ICA, London; The Ludwig Museum, Cologne; MUKHA, Antwerp; and Belgrade Cultural Center, Belgrade. He has received numerous awards including the Vilem Flusser Theory Award, Berlin (2010) and the Fulbright Scholar Program Fellowship (2011). He lives and works in Los Angeles and Berlin and is a Research Fellow at Delft School of Design, The Netherlands.

    These events are free and open to the public.

    In the Shadow of Numbers: Charles Gaines Selected Works from 1975-2012

    September 4 – October 21, 2012

    Lenzner Family Art Gallery, Atherton Hall, Pitzer College

    Opening reception: Saturday, September 15, 4-6 p.m.
    Pomona College Museum of Art

    Performance: Thursday, September 20 at 7 p.m.
    Pomona College Museum of Art
    The Lone Wolf Recital Corp featuring Charles Gaines will present an evening of electronic, digital, and acoustical sound.

    Artist lecture: Tuesday, October 16 at 2:45 p.m.
    George C.S. Benson Auditorium, Pitzer College

    The Pomona College Museum of Art and Pitzer Art Galleries, Pitzer College are pleased to present "In the Shadow of Numbers: Charles Gaines Selected Works from 1975-2012." Based in Los Angeles, Gaines investigates the relationships between aesthetic experience, political beliefs, and the formation of meaning. His work over the last forty years has typically employed systems and rule-based procedures to explore how we experience and derive meaning from art. Gaines is often linked with early Conceptual artists who came to prominence in the 1960s questioning subjectivity and traditional formal and material concerns. However, he identifies more closely with John Cage's examinations of indeterminacy in both composition and performance and focuses on linguistic tools such as metaphors and metonyms.

    "In the Shadow of Numbers: Charles Gaines Selected Works from 1975-2012" represents the first collaboration between the Pomona College Museum of Art and Pitzer Art Galleries, Pitzer College. The exhibition consists of photographs, sculptures, video, and drawings from several bodies of Gaines's work over the last several decades, including the "Explosions," "History of Stars," "NIGHT/CRIMES," "Shadows," and "Walnut Tree Orchard" series, among others, presented at the two Claremont College venues. A catalogue accompanies the exhibition and includes writings by the artist, Michael Ned Holte, Ciara Ennis, and Rebecca McGrew.

    Living Inside is Beautiful

    Senior Thesis Exhibition 2012
    April 26 – May 12, 2012

    Lenzner Family Art Gallery, Atherton Hall, Barbara Hinshaw Memorial Gallery, Grove House

    Robbie Acklen, Elizabeth Bartolini, André Baum, James Cathey, Brandon Fernandes, Zachary London, Dean Pospisil, Leah Quayle, Reid Ulrich

    View the Living Inside is Beautiful exhibition page for more information

    Liz Glynn: No Second Troy

    January 21 – March 23, 2012
    Pitzer Art Galleries, Nichols Gallery
    Curated by Ciara Ennis

    Opening Reception: Saturday, January 21, 2 – 5pm
    Nichols Gallery, Pitzer College
    Artist Walkthrough: Saturday, January 21 at 2:30pm
    Nichols Gallery, Pitzer College
    Artist Lecture: Monday, February 20 at 9am
    Nichols Gallery, Pitzer College

    Panel Discussion: Tuesday, March 27 at 4:00 pm in the Broad Performance Space, Broad Center, Pitzer College with artist Liz Glynn, Michelle Berenfeld, professor of classics at Pitzer College and writer Andrew Berardini.

    When a labor shortage threatened to derail its miraculous economic engine (the capitalist workforce was virtually cut in half by the Berlin wall) West Germany imported thousands of Turkish gastarbeiter, guest-workers, during the 1960s and 70s. A very different commodity, however, was similarly imported in the 1860s and 70s: the treasure of Troy. Bookended by these two events Los Angeles-based artist Liz Glynn has created No Second Troy, an exhibition featuring installation, video, and photographic works that examine the ideas of fable and obsession, desire and displacement.

    Liz Glynn's No Second Troy includes video documentation of interventions staged at archeological sites around Turkey and crudely made but preciously embellished artifacts based on the infamous Prium's Treasure—jewels, goblets, vases, weapons and plates made from copper, silver and gold—excavated at Troy, by amateur archeologist Heinrich Schliemann. Fabricated from trash and re-cast in gold-plated silver and bronze, Glynn's replicas allude to both the real artifacts as well as the copies commissioned by the Pergamon Museum in Berlin that, in another purloining, were confiscated by the Red Army in 1945. Other works in the series are based on the material culture of Turkish emigrants—foods, crockery, and other consumer goods purchased from local Berlin markets—referencing both the everyday life of Turkish emigrants and the copies of Turkish treasure regularly displayed in museums.

    Glynn's practice frequently uses ancient references to explore human agency and the potential for change in the present. This exhibition represents her first major attempt to link ancient contexts directly with contemporary material culture and the occasionally disjunctive nature of this relationship.

    Liz Glynn received her MFA from the California Institute of the Arts in 2008 and a BA from Harvard College in 2003. Glynn creates large-scale installations and participatory performances using epic historical narratives to explore the potential for change in the present tense. She has participated in numerous solo exhibitions including: Loving You is Like _ _ _ _ _ _ _ the Dead, MOCA: Engagement Party at MOCA in Los Angeles, CA (2011); Alexandria and Other Losses at the Los Angeles Public Library in Los Angeles, CA (2011); III, produced by Redling Fine Arts in Los Angeles, CA (2010); Out of the Forest & Into the Light at Machine Project & the LA Opera Ring Cycle Festival in Los Angeles, CA (2010); California Surrogates for the Getty at Anthony Greaney in Boston, MA (2010); and The 24 Hour Roman Reconstruction Project at Arthouse at the Jones Center in Austin, TX (2009) and at Machine Project in Los Angeles, CA (2008). She has also participated in numerous group exhibitions including: Temporary Structures: Performing Architecture in Contemporary Art at the deCordova Sculpture Park and Museum in Lincoln, MA (2011); On Forgery: Is One Thing Better Than Another? at LA><ART in Los Angeles, CA (2011); No Swan So Fine at Michael Benevento in Los Angeles, CA (2011); 7 Sculptors at Brennan & Griffin in New York, NY (2011); Sculpture at Paula Cooper Gallery in New York, NY (2011); The shortest distance between 2 points is often intolerable at Brand New Gallery in Milan, Italy (2011); Let Them Eat LACMA at the Los Angeles County Museum of Art in Los Angeles, CA (2010); The Elysian Park Museum of Art at LACE in Los Angeles, CA (2010); Projects and Assignments at Saprophyt in Vienna, Austria (2010); The Generational: Younger than Jesus at the New Museum in New York, NY (2009); and Bellwether at Southern Exposure in San Francisco, CA (2009). She will also be participating in the Getty Museum's Pacific Standard Time Performance Art and Public Art Festival in 2012. Glynn was awarded the California Community Foundation Emerging Artist Fellowship in 2010, the Joan Mitchell Foundation Associate Artist Fellowship in 2007 and the Alfred Alcaly Prize in 2004. Reviews of her work have appeared in the New York Times, New York Magazine, the Los Angeles Times, Art Lies, Domus, Archaeology Magazine, and artforum.com. Liz Glynn currently lives and works in Los Angeles.

    Emerging Artist Series #6

    Matthew R. Ohm
    January 21 – March 23, 2012
    Pitzer Art Galleries, Lenzner Family Art Gallery

    Opening Reception: Saturday, January 21, 2 – 5pm
    Artist Lecture: Monday, January 30 at 9am
    Lenzner Family Art Gallery, Pitzer College

    Why are there trees I never walk under but large and melodious thoughts descend upon me?
    — Walt Whitman, Song of the Open Road

    The work of Chicago born but now Long Beach based artist Matthew R. Ohm focuses on our interactions with the natural world and our need to measure, regulate, possess, and control it.

    The centerpiece of Vanitas is a large installation of whitewashed tree branches suspended above the viewer's head, casting multiple shadows upon the walls of the gallery. The artist reassembles the discarded limbs, leftovers from the pruning of trees, in a renewed, if fictive, landscape––creating a memento mori to, and from, the dead branches. The installation transforms the gallery into an environment that references the natural world through a theatrical distillation: nature as hunting trophy. The shadows created by the suspended branches echo the former living plants but only as ghosts. They appear on the walls like a macabre William Morris decorative device, a sepulchral swag. Further pruning levels all the branches to create a flat plane overhead thus lowering the ceiling and enlarging the audience to a domineering scale in relation to nature.

    The transforming of trees into skeletal clouds is an absurdist gesture but, arguably, an ad rem response to our abusive stewardship of this planet. With public water sources being sold to private corporations in order that we may purchase, at inflated rates, that which formerly belonged to us; and our relentless encroachment upon, and devastation of, open lands to make room for urban sprawl housing and the raw materials to construct it; is it any wonder that such a fever of willful self-destruction should prove contagious? Mr. Ohm's editorial environmentalism presents us with such a poetic vision of ecological squalor that we hunger for the next chapter in the serialization of our collapse.

    Matthew R. Ohm received his MFA from California State University, Long Beach in 2009. Ohm, an artist, sculptor and woodworker, has participated in numerous solo exhibitions including, A Majestic Oak Is Just A Crazy Nut Who Stood His Ground at Marilyn Werby Gallery in Long Beach, CA (2009); Trying to Bring the Dead Back to Life at Max L. Gatov Gallery in Long Beach, CA (2007); and Sticks & Stones at Marilyn Werby Gallery in Long Beach, CA (2007). He has also participated in numerous group exhibitions including, Off the Wall at Palos Verde Art Center in Palos Verde, CA (2011); Anarchy at Post Gallery in Los Angeles, CA (2010); Sub-Transient (collaborative show with Tyler Ferreira) at Arts Visalia Gallery in Visalia, CA (2009); Insights 2009 at the University Art Museum in Long Beach, CA (2009); Foehn Documents at The Constant Gallery in Los Angeles, CA (2008); CSULB Six Pack at the Tahoe Gallery in Incline Village, NV (2007); and The Grand Design at Hokin Gallery in Chicago, IL (2006). Ohm has co-curated Hysteria Updated at Max L. Gatov Gallery in Long Beach, CA (2008), Polytheism at Hokin Gallery in Chicago, IL (2005) and White at Little Known Gallery in Chicago, IL (2004). He was the visiting artist at Sierra Nevada College in Incline Village, NV in 2007. Matthew R. Ohm currently lives and works in Long Beach.

    Contributing Writers:

    Mark Allen is an artist, educator and curator based in Los Angeles. He is the founder and executive director of Machine Project, a non-profit performance and installation space in Los Angeles. Machine Project also operates as a loose confederacy of artists producing shows at locations ranging from beaches to museums to parking lots. Under his direction Machine Project has produced shows with the Los Angeles County Museum of Art, the Museum of Contemporary Art in Denver, the Contemporary Art Museum St. Louis in Missouri, and the Walker Museum in Minneapolis. He has produced more than 500 events in Los Angeles at the Machine Project storefront space, and recently concluded a yearlong artist residency addressing topics of public engagement at the Hammer Museum in Los Angeles. Allen has taught at the California Institute of the Arts and the University of California San Diego, and is currently an associate professor of art at Pomona College. He serves on the Board of Directors of the Andy Warhol Foundation for the Visual Arts in New York and on the Advisory Board of the Center for Integrated Media at the California Institute of the Arts in Los Angeles. Allen received his MFA from the California Institute of the Arts following a residency with the Core Fellowship of the Museum of Fine Arts in Houston.

    Thomas Lawson is an artist with a diverse, project-driven output that encompasses painting, writing, editing, curating and teaching. He has been showing paintings and developing temporary public works internationally since the late ʼ70s. Lawson was one of three selectors of the British Art Show in 1995. In the spring of 2009, selections from his older works were included in historical survey shows of the ʼ80s at the Metropolitan Museum of Art in New York and at Le Magasin – Centre National d'Art Contemporain in Grenoble, France. His essays have appeared in Artforum and other art journals, as well as many exhibition catalogues. From 1979 until 1992 he, along with Susan Morgan, published and edited REAL LIFE Magazine. From 2002 until 2009 he was co-editor of Afterall Journal. In 2010 he launched www.eastofborneo.org, an online magazine and archive. A book of selected writings, Mining for Gold, was published by JRP-Ringier, Zurich in 2005 and an anthology of REAL LIFE Magazine was published by Primary Information, New York in 2007. Lawson has received support from the Guggenheim Foundation and the National Endowment for the Arts. He has been Dean of the School of Art at the California Institute of the Arts since 1991.

    Synthetic Ritual

    Curated by Gabi Scardi and Ciara Ennis
    September 28 – December 9, 2011
    Pitzer Art Galleries, Pitzer College

    Opening Reception: Wednesday, September 28th, 5 - 8 pm.
    Curator's Walkthrough: Wednesday, September 28th, 5 - 6 pm.

    Participating Artists

    Mounira Al Solh, Meris Angeoletti, Beatrice Catanazro, Marcus Coates, Joel Kyack, Lawrence Lemaoana, Yoshua Okon, Adrian Paci, Marco Rios, Kara Tanaka, Carlin Wing, Amir Yatziv

    • Marco Rios
      Untitled (weeping video) (2010)
      Video, TRT: Continous loop
      Courtesy of the artist and Simon Preston Gallery

    Artist Lecture: Pitzer Art Galleries in collaboration with Pomona College presents Joel Kyack
    Wednesday, October 12, 2011, 1:30 – 3:00 p.m.
    Lebus Court 113, Pomona College

    Synthetic Ritual brings together a number of Los Angeles and international contemporary artists working in a variety of media including installation, drawing, performance, and video. The artists explore the idea of ritual as a faith-based activity that can be validated only within certain contexts—for example sport, religion and artistic practice—and cannot be rationally proven or substantiated.

    The exhibition examines the presence of ritual and superstition in our professional and personal lives and asks why, in such an advanced and sophisticated technological and cyber driven world, ritual still occupies such an important and dominant role. Exploring the three central themes of ritual in relation to sport, religion, and artistic practice the artists provide refreshing and surprising commentary on ritualized behavior in the 21st century.

    Elaborate ritualized behavior by sports fans and players dominates the world of sport. Whether it involves wearing the same unwashed jersey throughout the season, sleeping with a baseball bat to overcome a hitting dry spell, boxers drinking blood before a prizefight, repetitive rituals performed by baseball players with their gloves or feet before stepping into the batter's box, fishermen avoiding the path of barefoot women, all of these behaviors are regarded as acceptable decorum; yet when isolated and examined, free from the clutter of a falsely normalizing setting, they are utterly absurd and hardly distinguishable from madness.

    Similarly, sociocultural practices such as occultism or Freemasonry—as well as more conventional religions like Christianity or Buddhism—are sheathed in secrecy and cryptic codes, and all require adherence to specific practices and costumes. Whether it is transubstantiation or reincarnation, each has its own particular set of rules and fantastic belief systems that require faith in the irrational and the unproven.

    Tic disorders, obsessive-compulsive behavior, and repetitive involuntary movements have legitimate expression in many artworks today. Examples abound, this century and last, in expressionism, abstraction, conceptual, pop and performance, and can be seen in work as far apart as Roman Opalka's mapping of numbers one to infinity and John Bock's Paul McCarthy-inspired deranged personae performances. Whether artists are using these "syndromes" as systems to make the work—process, series, repetition—or evoking these states to call attention to social/political/cultural aspects, the list of artists is extremely long and likely to grow.

    Common to all these practices and activities—whether athletic, religious or artistic—is their reliance on behavior that is obsessive, repetitive, irrational, and unsubstantiated. The work of the artists in Synthetic Ritual all reference or employ some form of ritualistic behavior that, if taken out of the context of art, would be regarded as aberrant and unstable.

    Mounira Al Solh (b. Beirut, Lebanon lives and works in Beirut)

    Mounira Al Solh's The Sea is a Stereo (2007-ongoing) documents the daily swimming habits of a group of middle-aged Beirut men, who regardless of circumstance—turbulent weather or bombing raids—are compelled to swim in the sea at the same spot everyday. With the backdrop of incessant violence and interminable conflict, their rigid swimming ritual becomes an act of defiance in the face of the uncertain and chaotic times and creates unity among them.

    Meris Angioletti (b. Bergamo, Italy, lives and works in Paris and Milan)

    Meris Angioletti models her practice on the methodologies and procedures of a detective, psychoanalyst and historian, allowing her to assume a number of different roles and experiment with diverse strategies. The video installation I describe the way and meanwhile I am proceeding along it (2009) examines the highly influential 19th century abstract painter, mystic, and suffragette Hilma af Klint.

    Beatrice Catanazro (b. Milan, Italy, lives and works in Milan)

    The Water was Boiling at 34º 21' 29'' S, 18º 28' 19'' E, (2008), is a video work which takes the form of an interview between the artist and P.C. Sorcar JR—one of the most celebrated magicians in India—about the legendary "vanishing" of the Taj Mahal in Kachipura, Agra, on November 8, 2000. The work explores the possibility of employing magic and illusion to temporarily erase monuments and the narratives that they represent.

    Marcus Coates (b. London, England, lives and works in London)

    Investigating the relationship between shamanism and contemporary art, Marcus Coates' dramatic and participatory events involve ritualized performances where he attempts to enter into the 'lower world' to communicate with spirits of dead animals. Journey to the Lower World (2004), documents one such ritual, which he performs wearing antlers and a reindeer pelt for a group of bewildered tenants from a condemned Liverpool housing estate.

    Joel Kyack (lives and works in Los Angeles)

    LOCAL RECORDS is an ongoing series of projects where performance records are set in a specific site and community. These records are based around the number of times an action is repeated in a particular site over a 24-hour period. For Synthetic Ritual, Kyack will be performing a new Local Record live at Pitzer, in the 24 hours before the exhibition's opening.

    Lawrence Lemaoana (b. Johannesberg, South Africa, lives and works in Johannesberg)

    Fortune Teller #5 (2008) and All Things Fall Apart (2008) explore the relationship between sport, spirituality and politics as well as role of the mass media in shaping the psyche in present-day South Africa. Using textiles employed by local sangomas, the cloth—imbued with great spiritual significance—lends authority to the embroidered text.

    Yoshua Okon (b. Mexico City, lives and works in Los Angeles and Mexico City)

    As with many of Yoshua Okon's works, Parking Lotus (2001), an early photographic installation, combines humor with poignant social commentary. Installed floor to ceiling, the photographs depict security guards meditating in lotus positions in various parking lots around Los Angeles, and it is accompanied by the "Meditation Movement Manifesto"—a text supporting the spiritual welfare of security guards.

    Adrian Paci (b. Shkoder, Albania, lives and works in Milan, Italy)

    In Vajtojca (Mourner) (2002) Adrian Paci explores private and public mourning rituals. The video depicts a staging by the artist of his own death in his hometown of Shkoder, Armenia, where he was born. Employing a professional mourner, Paci is subjected to elaborate death rites and rituals while laid out on a table in a domestic setting.

    Marco Rios (b. Los Angeles, lives and works in Los Angeles)

    Untitled (Weeping Video) (2010) is a large-scale video portrait of the artist with streaming waterfalls tearing from his eyes. The work reveals his larger preoccupation with psychological and emotional states, and the exaggerated use of art historical references.

    Kara Tanaka (b. Modesto, California, lives and works in Los Angeles)

    The Hungry Human (Mountain Hunter) (2011) is a large sculptural installation depicting representations of sacred holy mountains found throughout the world, worshipped by pilgrims seeking enlightenment. Reflecting the larger history and conquest of these sacred sites, the work explores spiritual cultivation and the motivation for making grueling pilgrimages.

    Carlin Wing (lives and works in New York)

    Carlin Wing's roles as both an internationally ranked squash player and a widely exhibited photographer come together in her series of video and photographic works Hitting Walls. Wing's video-loop In the Eye of the Beholder (2009) records the moment when the ball hits either side of the central horizontal line, of the front wall of a squash court, with singular focus and stark economy.

    Amir Yatziv (b. Jerusalem, Israel, lives and works in Berlin, Germany)

    Amir Yatziv's Compressed Ceramic Powder (Battle in the Orchard) (2007) is a video installation featuring a group of young Israeli men solemnly describing their last moments in battle before death. This surreal adherence to the Israeli narrative of martyrdom is disturbed once it is revealed that the soldiers lost a paintball battle, not their lives.

    Curator's Bios

    Gabi Scardi is an international curator and art critic based in Milan. She is a curatorial advisor for MAXXI (Museum of the 21st Century Arts) in Rome and co-curates CECAC (European Course for Contemporary Art Curators) - Fondazione Ratti, Como, Italy and Province of Milan. Between 2005 and 2009 she was the Contemporary Art Advisor to the Province of Milan . She has curated numerous exhibitions internationally including Aware: Art, Fashion, Identity at the Royal Academy of Arts in London (2010). At the Lyon Biennale in 2009, she organized T.A.M.A. – Project "Side Effect", a collaborative project examining the situation of Romas in Europe. Her other projects include Yoshua Okón, Canned Laughter, Viafarini, Milan, (2009); Libia Castro & Òlafur Òlafsson, Riccardo Crespi Gallery, Milan, (2009); The Mobile Archive, Viafarini Care of DOCVA, Milan, (2009); Marina Ballo Charmet, Parco, Triennale, Milan, (2008); Stéphanie Nava, Considering a Plot (Dig for Victory), Viafarini, Milan, 2008, Alfredo Jaar, It is Difficult, Spazio Oberdan, Hangar Bicocca (2008), Debora Hirsch, BR-101, Fondazione Olivetti, Roma, (2008); LESS, Strategie alternative dell'abitare, PAC Padiglione d'arte Contemporanea (Pavilion for Contemporary Art), Milan, (2006), and LESS#1 Alternative Living Strategies, section of Gwangju Design Biennale (2007).

    In addition, Gabi Scardi teaches courses on Contemporary Art and Public Art at Università Cattolica, Milan; Politecnico di Milano, Faculy of Design, Milan; Università Bicocca, Faculy of Sociologioy, Milan; Domus Academy, Milan; TSM - Trento School of Management, Trento.

    Ciara Ennis is the director/curator of Pitzer Art Galleries at Pitzer College and was the curator of exhibitions at the University of California Riverside/California Museum of Photography, particularly of Still, Things Fall From the Sky (2005), Ruby Satellite (2006) and Eloi: Stumbling Towards Paradise (2007). Ennis moved from London to Los Angeles where she was project director for Public Offerings, an international survey of contemporary art, at MOCA, Los Angeles in 2001. From there she became associate curator at the Santa Monica Museum of Art, where she initiated the Project Room and programmed a series of experimental exhibitions with such artists as Urs Fischer, Simon Leung, Mark Leckey, Johan Grimonprez and Eduardo Sarabia. Ennis has been director of Pitzer Art Galleries for the past three years, during that time she has curated a number of exhibitions including: Antarctica (2007); Narrowcast: Reframing Global Video 1986/2008, co-curated with Ming-Yuen S. Ma (2008); Veronica (2009); and Capitalism in Question, co-curated with Daniel Joseph Martinez (2010). Ennis's curatorial practice blurs fact with fiction and focuses on storytelling as a means to explore the fluidity and fragility of identity, revealing the subtleties of the social, political, and the cultural issues that impact our lives. She received her MA in curating contemporary art from the Royal College of Art, London

    Pitzer Art Galleries Organization Description

    Pitzer Art Galleries exists to provide visually arresting and memorable exhibitions for diverse audiences, students, and artists that promote the value and understanding of contemporary art within a local, national, and international context. The Galleries are comprised of two sites, the Nichols Gallery—committed to solo and group exhibitions by national and international artists, both emerging and established—and the Lenzner Family Art Gallery—a space for risk and experimentation dedicated to emerging artists working in all media. Through curatorial creativity and innovative programming Pitzer Art Galleries seek to provide context, support, and a critical framework for artists and curators working today and, by doing so, inspire meaningful dialogue that fascinates, excites, and invigorates.

    Pitzer College

    Pitzer College is consistently ranked as one of the nation's top liberal arts colleges. A member of The Claremont Colleges, Pitzer offers a distinctive approach to a liberal education by linking intellectual inquiry with interdisciplinary studies, cultural immersion, social responsibility, and community involvement.


    Repurposing Social Media Spaces

    July 12 – September 6, 2011

    Pitzer Art Galleries:
    Nichols Gallery
    View Perpitube exhibition page for more information

    PerpiTube: Repurposing Social Media Spaces
  • PerpiTube
    Repurposing Social Media Spaces
  • PerpiTube: Repurposing Social Media Spaces, co-curated by Pato Hebert and Alexandra Juhasz, models a purposeful, complex, and artful use of social networking technologies and the spaces that hold them. In the gallery and on YouTube, this novel art show organizes the media of 29 invited participants along side the video production of daily visitors to the gallery, everyday YouTube users, invited community members, and you.

    The Space is Now Open for All of Us. Together we will collaborate to rethink and remake liveness and delay, mobility and place, presence and absence, solitude and community, both online and off.

    PerpiTube responds to many of the criticisms expressed by Juhasz and her Pitzer College students who tried to teach and learn on YouTube. Juhasz's born-digital, free, online video-book, Learning from YouTube (MIT Press, 2011) was one end result of this immersive interaction, and PerpiTube is another.

    Over two months, 29 diverse artists, activists, and academics will interact with audiences at the gallery—invited youth, community members, and educators, as well as daily visitors. Over the two months, a collection of their archived works (and your responses to them) will be available to many more on YouTube.

    Each day at 10 am (PST time) the gallery will be open for a unique, fifteen minute, live, interactive event followed by fifteen minutes of refreshments and conversation. The next day, with only the smallest of delays, video documentation of the artist's presentation and the audience's response will be added to the exhibition's growing archive.

    For the rest of each day (10:30 am-4 pm) the gallery will be closed to live presentations and repurposed for videomaking and learning via two workstations: one for YouTube research and another for YouTube video production.

    Los Angeles media artist, Natalie Bookchin, whose recent work has focused on YouTube, will present a video to open each of four themed sections based on chapters from Learning from YouTube. These themes will continue to be activated by invited participants—Italian exchange students, native California youth, women in a transitional facility, and local educators—who will attend Bookchin's opening presentation and then a video workshop, and whose video will be placed into the show's growing archive to kick off and expand conversation.

    The unique structure of the show is designed to highlight how various spaces, on and offline, amplify the connections and contradictions between local place and digital mobility, the reception and production of social media, the tension between the ephemeral and the archive, and the "artist" and "amateur." By so doing, the curators and participants model how social media, lived spaces, and their intentional interactions can be repurposed to empower users and communities by using digital technology in productive, intentional, and focused ways.

    Euan Macdonald: KIMBALL 1901 -

    January 27 - March 25, 2011
    Opening Reception: January 27, 5:00 - 8:00 p.m.
    Nichols Gallery, Pitzer Art Galleries

    Thursday, February 24, 3:30 p.m.
    Nichols Gallery, Broad Center, Pitzer College
    Discussion and exhibition walkthrough with artist Euan Macdonald and director/curator Ciara Ennis

    Kimball1901 (detail) (2010) By Euan Macdonald

    Euan Macdonald Kimball1901 (2010)
    Single-channel video
    7 minutes
    Courtesy of the artist and Galleria S.A.L.E.S., Rome, Italy

    Kimball1901 (detail) (2010) By Euan Macdonald

    Euan Macdonald Kimball1901 (2010)
    Play The Piano Drunk...(part 4) Courtesy of the artist and Galleria S.A.L.E.S., Rome, Italy

    Euan Macdonald, a Los Angeles-based artist, works in a variety of media—video, sculpture and drawing—producing deadpan and idiosyncratic works that defy immediate comprehension. Focusing on the everyday, he documents actions and events that at first glance appear ordinary and unspectacular, but on closer inspection reveal complex interrelations between individuals and disparate objects. Conceived in two parts, Macdonald's most recent work KIMBALL 1901 -, made specifically for Pitzer Art Galleries, is comprised of a stop-motion animation on video and an edition of silk-screen printed anagrams.

    Employing one of the earliest forms of moving-image technology, Macdonald's stop-motion video is a portrait in absence—depicted through a lifetime of discarded books and an abandoned antique parlor piano found in her neglected living room. Constructed frame-by-frame, with books of various shapes and sizes, the video captures the gradual building and dismantling of a wall that both obscures and reveals the battered piano positioned behind. Through the collapsing of time and space and ongoing cyclical process of construction and disassembling, the film reflects on the vicissitudes of a lifetime packed with experience, human loss, entropy and the transient nature of our existence.

    Referencing another life lived to the full is Macdonald's series of silkscreen printed anagrams using all the letters of title Play The Piano Drunk Like A Percussion Instrument Until the Fingers Begin To Bleed A Bit (1979) by Charles Bukowski. Linked by the piano's subject matter and apparent randomness of the stacked books, the anagrams provide a compelling yet quieter companion piece to the continuous and chaotic building and removing of the wall.

    The exhibition will be accompanied by a 64-page catalogue documenting the making of the exhibition and will include an essay by Lisa Gabrielle Mark, director of Material Means and former director of publications of the Museum of Contemporary Art and an interview of Euan Macdonald by Ciara Ennis, director/curator of Pitzer College Art Galleries.

    Emerging Artist Series #5: Worker: James Gilbert & Jennifer Vanderpool

    January 27 - March 25, 2011
    Opening Reception: January 27, 5:00 - 8:00 p.m.
    Lenzner Gallery, Pitzer Art Galleries

    Thursday, February 10, 2011, 1:15 p.m.
    Broad Performance Space, Broad Center, Pitzer College
    Panel discussion with artists James Gilbert and Jennifer Vanderpool with Maria Soldatenko, professor of gender and feminist studies/Chicana studies, Pitzer College and Richard Widick, visiting scholar at the Orfalea Center for Global and International Studies, University of California Santa Barbara

    Worker: James Gilbert & Jennifer Vanderpool 
Worker (2010 – 2011)

    Worker: James Gilbert & Jennifer Vanderpool
    Worker (2010 – 2011)
    Digital image
    Dimensions variable
    Courtesy of the artists

    Worker is a performance-based installation that includes sculptural elements, video and audio, creating a powerful visual and aural experience. A group of anthropomorphic life-size soft sculptures are positioned within an undulating organic and visceral environment, created by a mass of used thrift-store and abandoned clothing stacked and layered from floor to ceiling. A cacophonous hum of buzzing bees and chirping birds make up the soundtrack, which is layered against the clattering of sewing machines in the gallery that produce dissonant and competing sounds. Worker pays homage to the artists' mothers and their innumerable anonymous counterparts who worked in a textile factory in the late 1950s while simultaneously acknowledging Los Angeles garment workers and their collective action to change sweatshop conditions in Los Angeles factories. Worker draws attention to the alienation of contemporary laborers, their invisibility within the process of mass production and the precarious nature of their employment made infinitely worse by the economic downturn. Both organic and industrial, the soundscape creates an enveloping and all-consuming experience providing a charged and meditative space.

    On opening night, an anthropomorphic sculpture will be created by the artists, Pitzer College students and local participants dressed in repurposed clothes, and material used in the installation symbolically representing the efforts of unseen laborers.

    Notes, Odd Lots, Restoration Selections, etc.

    A Solo Exhibition by Kim Schoenstadt '95

    June 1-12, 2011

    Pitzer Art Galleries:
    Nichols Gallery, Broad Center

    Artist Talk with Kim Schoenstadt '95:
    During Alumni Reunion Weekend
    Saturday, June 11, 2–3 p.m.

    Extended Gallery Hours During Alumni Reunion Weekend
    Friday, June 10, Noon–7 p.m.
    Saturday, June 11, 9 a.m.–5 p.m.
    Sunday, June 12, 10–11:30 a.m.

    Kim Schoenstadt '95 is a visual artist who lives and works in Venice, CA. Her works have been featured in solo and group exhibitions in museums and galleries across the world.

    In Notes, Odd Lots, Restoration Selections, etc., Schoenstadt merges the real with the imaginary. Blending diverse architecture from locations around the world, she creates a fusion of fresh styles that experiments with elements of existing architecture and virtual reality.

    phenogenesis: an evolution of expression

    Senior Thesis Exhibition, 2011
    Lauren Conquist Anderson · Maia Ashkenazi · Casandra Campeas · Sophia Galano · Paula Gasparini De Oliveira Santos · Michelle E. Gross · Anja Hughes-Stinson · Evan Kelley · Sarah Lee · Avery Oatman · Morgan Pepper · Marita Pickron · Kamilla Q. Rifkin · Devin von Stade

    April 28-May 14, 2011

    Pitzer Art Galleries:
    Nichols Gallery, Broad Center
    Lenzner Family Art Gallery, Atherton Hall
    Barbara Hinshaw Memorial Gallery, Grove House

    Bas Jan Ader: Suspended Between Laughter and Tears

    Guest Curated by Pilar Tompkins Rivas

    Organized by Pitzer Art Galleries & Claremont Museum of Art

    September 30 – December 10, 2010
    Pitzer Art Galleries, Pitzer College

    Opening Reception: Thursday, September, 30, 2010, 5-8 p.m.

    Thursday, October 21, 2010
    Broad Performance Space, Broad Center, Pitzer College
    2 p.m., Film Screening: Rene Daalder's award winning Bas Jan Ader documentary Here is Always Somewhere Else (2008)
    3:30 p.m., Discussion: A conversation between Bas Jan Ader's widow Mary Sue Ader-Andersen, filmmaker Rene Daalder and guest curator Pilar Tompkins Rivas

    This exhibition has been made possible by a generous grant from Fundación/Colección Jumex and the Consulate General of the Netherlands, San Francisco

    I Am Too Sad To Tell You</em>, 1971, Bas Jan Ader

    I Am Too Sad To Tell You, 1971, 16mm film transferred to DVD, silent

    Suspended Between Laughter and Tears is an exhibition of video, photography, installations and archived materials from the estate of the late Dutch-born and California-based conceptual artist Bas Jan Ader, who is assumed to have perished at sea in 1975. The exhibition's title refers to the artist's exploration of the tenuous point between comedy and tragedy in his work. It is the first large-scale survey focusing on the breadth of his artistic practice mounted in the United States in over 10 years and will include documentation of works that have previously only been seen in catalog reproductions. A publication will accompany the exhibition and will include interviews with Ader's widow, Mary Sue Anderson.

    Ader's work centers on short-duration acts of physical and emotional release. In the noted film and subsequent photographs titled I'm Too Sad to Tell You (1971), the artist is seen crying directly into the camera amplifying a simple human emotion – grief – into a profound and revelatory experience. Ader also makes use of the force of gravity as a medium in his performance work, as documented in film and photography. His videos, in many respects, bear an explicit physicality, which are the hallmark of many silent films. Other projects, including the unfinished trilogy In Search of the Miraculous (1975), during which the artist disappeared, stretch the boundaries of sentimentalism through existential journey.

    Ader frequently referenced Dutch artistic and cultural traditions in his work. Photographs such as On the road to a new Neo Plasticism, Westkapelle, Holland (1971) reveal his interest in Mondrian and the De Stijl movement, which sought simplified compositions to express a utopian harmony. Dutch landscape and still life painting traditions can be seen in videos such as Primary Time (1974), in which the artist arranges and rearranges a red, blue and yellow bouquet of flowers, and in photographs like Farewell to Faraway Friends (1971), where the artists casts himself as a romantic wanderer – linking himself to the paintings of 19th century German artist Caspar David Friedrich – but ultimately setting the tone for his physical acts of searching.

    Yet it was Ader's unique relationship to the city of Claremont, where he lived and studied from 1965 to 1974, which established his importance as a California artist. At his Claremont home, Ader executed some of his most significant works including All My Clothes (1970) and Fall I (Los Angeles) (1970). In his Claremont studio he also produced the experimental installations Please Don't Leave Me (1969) and Reader's Digest Digested (1970). His thesis exhibition at Claremont Graduate University in 1967 laid the groundwork for his mature works, as seen in the offset lithograph invitation to the show depicting Ader sitting on the roof of his home smoking a cigar with cartoon-like clouds and sky behind him.

    Ader's modest body of work – considered groundbreaking and visionary – continues to influence a new generation of artists. Suspended Between Laughter and Tears provides a context for his overarching themes and strategies by addressing the living aspects of his practice. In addition to Ader's original works of art, the exhibition includes specific pieces by artists that reference his concepts and actions. For example, Sebastian Stumpf, from Leipzig, Germany, pays homage to Ader by attempting to overcome gravity instead of succumbing to it in works such as Marcher á l'envers. Los Angeles-based, Mexican-born artist Fernando Sanchez explores the idea of failure and an inability to conquer natural forces through a series of live and web-cast performances.

    Understanding that comedy and tragedy are two sides of the same coin, Mexico City-based artist Artemio, references Ader's I'm Too Sad to Tell You in his video montage The Crying Game where the forced act of weeping in front of the camera lingers between the theatrical and the heart-felt. Photographer and performance artist Martin Kersels, from Los Angeles, plays off of the humor of physical action seen throughout Ader's work, in his body of photographs Tripping. Katie Newby of Auckland, also brings a delicate balance of melancholy and hopefulness to her temporary installations that, like Ader's Please Don't Leave Me, are at once a declaration to be noticed and a fleeting gesture.

    Yet the most influential aspect of Ader's work seems to lie in his final and incomplete trilogy, In Search of the Miraculous. The notion of perishing while attempting something meaningful in art, or the ultimate sacrifice for one's craft, is a concept that young artists have gravitated towards again and again. Disappearing without a trace, as Ader did while executing this piece, seems plausible in the pre-GPS era of the 1970s, yet Piero Golia (Naples/Los Angeles) accomplished this feat in 2007, and lived to tell the story in his month-long performance Postcards from the Edge. Gonzalo Lebrija, from Guadalajara, follows in Ader's footsteps on a vision quest in the photographic series The Distance Between You and Me, as he sets a lone course through deserted landscapes. Furthering the mystery of a journey on the open ocean, Rio de Janeiro artist Thiago Rocha Pitta elicits the relationship of man, the sea and the unknown elements at hand in the video The Secret Sharer.

    In a marked attempt to gain insight into the artist's impossible journey, Canadian sculptor Jed Lind acquired a sailboat identical to that used by Ader in his 1975 performance, In Search of the Miraculous, and hollowed it out in a painstaking and methodical act of meditation. Mexico City artist Diego Teo also suggests that an homage to this work must include the ideas of fleetingness and futility, such as in the artist's own attempt to mark the cultural terrain of a graffiti pit with the title of Ader's work, only to have it obliterated moments later by a wave of new imagery.

    Furthermore, a special screening of Dutch filmmaker Rene Daalder's documentary on Bas Jan Ader, Here is Always Somewhere Else, will take place during the course of the exhibition. Daalder will also present a selection of videos by contemporary artists utilizing gravity in their work.

    view site

    et al. senior art exhibition

    Adria Arko, Paul Bergmann, Marnie Briggs, Dominique Festa, Lanie Frosh, Michael Goldberg, Jeremiah Gregory, Garbo Grossman, Leticia Grosz, Courtney Leverette, Zach Milder, Jane Philips, Cal Siegel, Eric Stern, Annie Stone, Kanae Takemoto, Katie Tonkovich

    "CAPITALISM IN QUESTION (because it is)."

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    Co-curated by Daniel Joseph Martinez & Ciara Ennis

    Artists: Ian Arenas, Matthew Brandt, James Melinat, Gabie Strong, Kara Tanaka, Grant Vetter

    January 28 – March 19, 2010

    A Life of disobedience by Daniel Joseph Martinez

    A Life of disobedience
    by Daniel Joseph Martinez

    The rampant capitalism of the last decade, and its recent catastrophic crisis, has left us in a peculiar and unfamiliar space. Capitalist economic ideology and practices are suddenly under renewed scrutiny. "Capitalism in Question (because it is)" explores our current economic predicament and range of alternatives scenarios.

    Daniel Joseph Martinez (b. 1957) is an internationally exhibiting artist who grew up in Los Angeles. For over thirty years, he has divined sociopolitical fault lines in the American psyche and carefully placed conceptual and perceptual explosives into them. This volume, with essays by Michael Brenson, Hakim Bey, David Levi Strauss, Gilbert Vicario, Lauri Firstenberg, Arthur C. Danto, Linda Norden, and Rachel Leah Baum, chronicles selected works from 1978 to 2008, concentrating on the work of the past sixteen years—from his controversial intervention in the 1993 Whitney Biennial to his Divine Violence piece in the 2008 Whitney Biennial, and including his contributions to the San Juan Triennial in 2004, the Cairo Biennale in 2006, and the Moscow Biennial in 2007. A variety of further installations, text works, paintings, photographs, sculptures, animatronics, and videos complete the catalogue. He is a Professor of Theory, Practice, and Mediation of Contemporary Art at the University of California, Irvine, where he teaches in the Graduate Studies Program and the New Genres Department.

    Daniel Joseph Martinez: A Life of Disobedience, is published by Hatje Cantz, Germany.

    Co-organized by Pitzer Art Galleries and The Center for Social Inquiry at Pitzer College.

    Emerging Artist Series #4:

    Carla Herrera-Prats

    Lenzner Family Art Gallery, Pitzer Art Galleries

    January 28 – March 19, 2010

    Localization, Location, Ubicación

    In the fourth installment of Pitzer's Emerging Artist Series, Carla Herrera-Prats transformed the Lenzner Family Art Gallery into a collection center holding all the materials—correspondence, agreements, rejection letters and pictures—accumulated in the production of her book Localization, Location, Ubicación.

    In his 1922 book The Gift, Marcel Mauss analyzes different models of a gift economy that can be seen as a form of resistance to an expanding market economy. Mauss describes how the exchange of objects between groups builds relationships among them. Giving a gift triggers an inherent obligation on the part of the receiver to reciprocate the gift. The resulting series of exchanges between groups hence provides one of the earliest forms of social solidarity.

    Localization, Location, Ubicación departs from this notion of solidarity, working with Mauss's analysis in the context of a regulated system of gift-giving common to us. Carla Herrera-Prats's project consists of making and donating a gift––in the form of a book–– to a host of libraries, institutions and research centers that deal with questions of immigration, labor, collaboration and art in Canada, the United States and Mexico. This gift functions as a bridge linking the participating institutions together and examines the way knowledge production and art are formed, disseminated and organized. As a "true gift," the book requires the reciprocity and participation of its receivers to exist. The book itself consists of photographs and descriptions—provided by the participating libraries—of the shelves where Herrera-Prats's book is to reside once it is printed. Once accepted, the book is put into the libraries' circulation and distribution system and listed in various subject categories, including art.


    Shana Lutker, Veil, no.1

    Shana Lutker, Veil, no.1

    view site

    Rheim Alkadhi, Mathilde ter Heijne, Nadine Hottenrott, Karen Lofgren, Shana Lutker, Jeni Spota, Carrie Yury and Joy Whalen

    Nichols Gallery, Pitzer Art Galleries

    September 24 — December 11, 2009

    Opening Reception: September 24th, 5 — 8 PM 2009

    Veronica draws together an all-woman cast of artists from the United States, Germany and The Netherlands whose works involve an examination of their cultural guideposts. Inspired by the myth of Saint Veronica—who mopped Jesus’s brow on the road to Golgotha resulting in an imprint of his face on her veil––the artists attempt to cleanse and update existing stereotypes and the icons that support them. Like Veronica, who committed a brave and selfless act, these artists have created courageous works that tackle gender, politics, religion and identity issues while freely indulging in the familiar tropes and rituals of ancient myth and magic. The result is a collection of visually compelling works that beguile with formal invention and persuade with thematic wit.

    Emerging Artist Series #3

    Nuttaphol Ma

    This Land is Your Land

    Lenzner Family Art Gallery, Pitzer Art Galleries

    September 24 – November 20, 2009

    In the third installment of Pitzer’s Emerging Artist Series, Thai-born, Los Angeles based artist Nuttaphol Ma combines references to Manzanar—an abandoned Japanese relocation camp at the base of California’s Sierra Nevada mountain range—with Woody Guthrie's missing lyrics from "This Land Is Your Land." Ma’s site-specific installation explores issues of displacement, migration and survival and asks whether "This Land Is Your Land" is still relevant to today’s new immigrants.

    This Land is Your Land is co-organized with the 18th Street Arts Center, Santa Monica.

    Kyugmi Shin

    Kyugmi Shin

    Babel: The Chaos of Melancholy

    Kyugmi Shin

    NICHOLS GALLERY, Pitzer College

    July 16 – September 11, 2009

    Los Angeles based Korean American artist, Kyungmi Shin, will develop a site-specific installation for the Nichols Gallery at Pitzer College. Synthesizing and expanding upon many of the formal and conceptual themes explored in her recent projects, this solo exhibition is Shin's most ambitious work to date.

    Babel: The Chaos of Melancholy takes its name from a quotation cited in Robert Burton's infamous work, the Anatomy of Melancholy (1621). Written to combat the debilitating effects of depression, Burton compares the "confusion of tongues"—in the Biblical story of the Tower of Babel—with the eviscerating effects of melancholy. Taking Burton's quotation as her starting point, Shin's creates a sprawling, vertiginous installation reaching from the second floor mezzanine to the gallery floor below. Comprised of scrap metals, recycled plastic, discarded building materials, trash, photo collage and glass, the 25 foot high installation faces a large-scale projection on the opposing wall. Featuring video footage from Dubai juxtaposed with clips from a shantytown near Shin's studio home in Ghana, the work raises challenging issues about class, race, economics and global politics. Furthermore, Shin's recycled and scrap materials collaged together references the make-shift and impoverished shantytowns ubiquitous in certain parts of the world and contrasts them with the wealth displayed in 'uber' rich communities elsewhere.

    Karen Lofgren

    Karen Lofgren

    Emerging Artist Series #2

    Karen Lofgren

    Lenzner Family Art Gallery, Pitzer

    July 23 – September 11, 2009

    In the second Emerging Artist series, Los Angeles based Canadian artist Karen Lofgren creates a site-specific project for the Lenzner Family Art Gallery at Pitzer College. Lofgren's richly evocative and provoking objects—a gigantic gold-linked chain, a life-size unicorn made from Christmas lights and transparent tape and golden chain spider webs—are made from a collection of unusual substances and materials that can be both somber and absurd. Alluding to a host of diverse references—minimalism, corporate architecture, rock and consumer culture aesthetics—Lofgren's highly unique, 'life-scale' sculptural works and installations tackle a range of subjects including medieval alchemy, natural history, politics and philosophy. Alluding to multiple narratives, the works wrestle with their materiality and deliver a highly satisfying visual experience. For the Lenzner Gallery, Lofgren will flood the floor with gold puddles.

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    Twelve: Senior Art Exhibition

    04-23-09 thru 05-16-09 — Nichols Gallery, Broad Center; Lenzner Family Art Gallery, Atherton Hall; Salathé Gallery, McConnell Center; Barbara Hinshaw Memorial Gallery, Grove House.

    Featuring Soo Kyung Bae, Allison Kate Cherkis, Jordyn Feiger, Matthew Garber, Amy Gallser, Will Levin, Perry marks, chelsea Spiro, Chella Strong, Kyla van Maanen, Angel Villanueva, Celeste Voce.

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    William Ransom

    01-29-09 thru 03-27-09 · Lenzner Family Art Gallery, Atherton Hall

    William Ransom, who makes meticulously crafted, large-scale sculptural works from recycled and found wood, will transformed the space into an experimental hub from December 2008 to January 2009, culminating in a site-specific installation that includes composting and other biological entropic activities. Fusing the old and the new, Ransom combines nostalgia for bygone materials and production methods with sustainable solutions for a future lifestyle.

    Clayton Campbell

    01-22-09 thru 03-27-09 · Nichols Gallery, Broad Center & Lenzner Family Art Gallery, Atherton Hall

    By intentionally corrupting the digital files of these insistently barbarous Abu Ghraib pictures, Los Angeles-based artist Clayton Campbell transformed them into large-scale, geometric, painterly works. Bands of translucent reds, blues and purples migrate across the surface, shredding and obscuring as they go, allowing an indulgence in sensuous abstraction, a short-lived reprieve from the heinous acts. Resembling ancient Mesopotamian sculptural fragments—like those looted at the beginning of the U.S. “Operation Iraqi Freedom,” the bodies detach and re-combine in surprisingly exquisite arrangements. The bands, reminiscent of those used to adjust the color image on our televisions, imply our readiness to accommodate and compromise our points of view. In a post-9/11 world, are we willing to accept torture and surrender our civil liberties? What are our true colors and how much are we willing to adjust them? Campbell's formal filter of distortion becomes a metaphor for averting our eyes—something we are only too eager to do.

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    Narrowcast: Reframing Global Video 1986/2008

    09-25-08 thru 11-23-08 · Nichols Gallery & Lenzner Family Art Gallery
    12-9-08 thru 3-1-09 · LACE (Los Angeles Contemporary Exhibitions)

    Featuring: Lyn Blumenthal, Juan Downey, Antonio Muntadas in collaboration with Marshall Reese, Michael Smith, Bill Viola, Natalie Bookchin, Mark Boulos, Regina Jose Galindo, Pablo Pijnapple, Artur Zmijewski

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    Uncommon Practice: Pitzer Faculty Show

    05-16-08 thru 08-08-08 · Nichols Gallery & Lenzner Family Art Gallery

    Featuring: Steve Cahill, Eddie Gonzalez, Alexandra Juhasz, Gina Lamb, Jesse Lerner, Jessica Lawless, Ming-Yurn S. Ma, Jessica McCoy, Kathryn Miller, and Kelly Sears

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    Spell: Sandeep Mukherjee

    02-02-08 thru 03-22-08 · Nichols Gallery

    Known for his mural-scale, lushly colored paintings, engineer-turnedartist Sandeep Mukherjee concocted an exhibition of paintings and drawings made specifically for the Nichols Gallery.

    Restricting his palette to black and white, Mukherjee's three massive horizontal works, that function in concert as well as singly, allude to the natural landscape but never conspicuously. The paintings pivot back and forth between the tangible and the ethereal, pushing and pulling between figuration and abstraction. The result is a tension between the pastoral and fantastic that attracts viewers with its peculiar magnetism.

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    Lizabeth Eva Rossof

    01-30-08 thru 03-22-08 · Lenzner Family Art Gallery

    Alumna Lizabeth Eva Rossof '95, who was featured in Takashi Murakami's 2007 selection of emerging artists in GEISAI, Miami, creates experimental art that is playfully provocative and visually arresting and includes collaborative performance, public intervention and site-specific installations.

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    11-17-08 thru 01-12-08 · Nichols Gallery & Lenzner Family Art Gallery

    Antarctica was the subject of the largest photographic exhibition ever shown at Pitzer College. It was the first to take place simultaneously at the campus' Nichols and Lenzer Family Art Galleries. Antarctica brought together the work of three extraordinary artists: Joyce Campbell, Anne Noble and Connie Samaras. The artists' collaborative work explores the subject of Antarctica, the coldest and most extreme continent on Earth.


    09-17-07 thru 10-31-07 · Lenzner Family Art Gallery

    Focusing on individual and collective identity, Fredric Roberts' photographs taken in India, Cambodia, Bhutan, Myanmar and China explore the complex narratives and entwined relationships between people and the places where they live. Exuding compassion and unusual empathy, Roberts' powerful color works elegantly capture the disparate cultures, elaborate rituals and ever-shifting landscapes that he encountered along the way.

    Globalization: Choices & Changes

    09-07-07 thru 10-20-07 · Nichols Gallery

    In this Exhibition Annu Palakunnathu Matthew and David H. Wells '79 approach the topic of globalization in India in different ways. In The Virtual Immigrant, Matthew explores the fluidity of identity and the dislocation of call center workers in India who technologically “migrate” during their workday. In The Newly Global and the Eternal, Dualities in South Asia, Wells investigates interactions between local culture and globalization's forces for change.