- Faculty Art Show: Tim Berg (Rebekah Myers), Sarah Gilbert, Tarrah Krajnak, Jessica McCoy, and Friends
Co-curated by Bill Anthes and Ciara Ennis
January 26 – March 30, 2017
Opening Reception: January 26, 5-7 pm
This exhibition focuses on the legacy of the Pitzer College Art Field Group and its dedication to progressive ideas around environmentalism and art. Work made by Tim Berg (Rebekah Myers), Sarah Gilbert, Tarrah Krajnak and Jessica McCoy will be discussed in the context of work made by Carl Hertel, David Furman, Michael Woodcock, Kathryn Miller and Paul Faulstich that have contributed to the conversation.
Bill Anthes in conversation with Paul Faulstich
Friday, February 17 at 1:30 pm
Nichols Gallery, Broad Center, Pitzer College
Conversation with Tim Berg, Sarah Gilbert, Tarrah Krajnak and Jessica McCoy
Wednesday, March 1 at Noon
Broad Performance Space, Pitzer College
All events are free and open to the public.
The Faculty Art Show is generously supported by art + environment, a four-year project at Pitzer College funded by the Andrew W. Mellon Foundation, Office of the Dean of Faculty, Campus Life Committee and Teaching and Learning Committee at Pitzer College.
Tags: Nichols Gallery, Past Exhibitions, Spring 2017
- Far from Indochine
Guest curated by Chương-Đài Võ
September 10–December 9, 2016
Saturday, September 10, 2:30-4:30 p.m.
Nichols Gallery, Broad Center
Lecture by Guest Curator, Chương-Đài Võ
Wednesday, September 7 at 11 a.m.
Room 210, Broad Hall
Artist Lecture: Site and the Imaginary
Saturday, September 10 at 1:30 p.m.
Broad Center Performance Space, Broad Center
Patty Chang and David Kelley join us to discuss their collaborative video work Route 3, which is currently on view at the Pitzer College Art Galleries in the Far from Indochine exhibition, and a selection of other projects. While the pair work across a wide range of mediums and disciplines, from sculpture, drawing and photography to film, performance and new media, at the core of their collaboration is the intersection of site and the imaginary.
Route 3 is their recent video about a newly completed highway in rural Laos. Connecting China to Thailand through the former Golden Triangle, the new highway has accelerated Chinese development of Lao agricultural and gambling industries, and the migration of rural Lao minority populations to the growing roadside towns. The video considers the enigmatic changes in the visual landscape through performance and sculpture.
Panel Discussion: Modernism: Western Fantasies of the Orient
Wednesday, October 5 at 11 a.m.
Broad Center Performance Space, Broad Center
Panelists: John Tain, Curator, Modern and Contemporary Collections, Getty Research Institute; Wendy Cheng, Assistant Professor, American Studies, Scripps College; Viet Le, Artist and Professor, California College of the Arts; and Dewey Ambrosino, Artist and Professor, CalArts and Art Center College of Art and Design.
Generous funding for this event is provided by the Pitzer College Campus Life Committee.
Far from Indochine engages with the myths and ideas that shaped modernism and inform contemporary imaginings of Southeast Asia. In conversation with the recent 40th anniversary of the end of the Vietnam War, the exhibition brings together five artists from France and the U.S. Through film, photography, sculpture and embroidered cloth, these artists provoke questions about perceptions of and in Cambodia, Laos and Vietnam. The exhibition is an assemblage of illegible screens that recall and refract fantasies about another world.
Organized by curator Chương-Đài Võ, Far from Indochine features three projects by Dewey Ambrosino, Patty Chang and David Kelley, and Frédéric Dialynas Sanchez and Jean-Sébastien Grill.
Route 3, a film by Patty Chang and David Kelley, takes viewers along a new Silk Road that serves as a stage for local and transnational imaginings about modernity in Laos. Multiple storylines and images pop in and out of the frames, continually interrupting each other and unsettling narratives of economic development.
The installation Hiding in the Light by Dewey Ambrosino offers a ghostly dance of night-vision photographs of an insect farm in Cambodia, and a sculpture of a Hindu and Buddhist protector deity. The juxtaposition of the mundane and the spiritual aligns with centuries-old practices that view the micro within the infinite time and space of the cosmic.
Triangle, by Frédéric Dialynas Sanchez and Jean-Sébastien Grill, plays with the celebratory and conflicting politics of nationalism by merging the Cambodian, Vietnamese and Laotian flags. The billboard-size cloth decontextualizes political symbols, appropriating the authority of the state and advertisements for the desires and platitudes of global capitalism.
Far from Indochine addresses definitions of the modern and the contemporary, the blurry boundaries between appropriation and innovation, and artistic and curatorial strategies in and about Asia. The exhibition originated as part of the Curatorial Opportunity Program at New Art Center in Newtonville, MA.
About the Artists
Dewey Ambrosino, Hiding in the Light (2012), Installation: Caturmaharaja sculpture—acacia wood (63 x 12 x 13 in.), archival inkjet prints (nine 29 x 44 in. each), ink on masa paper (43.25 x 81.5 in.), mylar debossing (44 x 55.25 in.), entomology pins, mylar (22 ft.) and two stage lights, Dimensions variable
Dewey Ambrosino received undergraduate degrees in Sculpture and Industrial Design from University of Illinois, Chicago, and an MFA in Art from CalArts. Based in Los Angeles, he is a current faculty member at CalArts and Art Center College of Design. His practice examines the relationship between aesthetic phenomena and cultural conditioning through a wide variety of media. Ambrosino has performed and exhibited throughout the US, Europe and Asia.
Patty Chang and David Kelley, Route 3 (2011), Three-channel synchronized HD video projection, 27:21 min
Patty Chang works primarily with performance and video art. She has had solo exhibitions at institutions such as Museum of Modern Art, New York; New Museum, New York, Hammer Museum, Los Angeles; Museet Moderna, Stockholm, Sweden; Museum of Contemporary Art, Chicago; and Fri-Art Centre d’Art Contemporain Kunsthalle, Fribourg, Switzerland. Chang is a 2014 Guggenheim Fellowship recipient.
Jean-Sébastien Grill is a graphic designer based in Nancy, France. An advocate of “Do It Yourself” and nomadism, Grill studied visual arts at ESAL in Metz and Épinal (2002/2007). Since 2010, he and Frédéric Dialynas Sanchez have worked together on projects in Geneva, Dijon, Mosset, Saigon and Shanghai. Their video “Night at The Observatory” was shown in Amsterdam while their flip book “Night on Earth” was published in (Re)Collecting the Vietnam War, a special issue of The Asian American Literary Review.
David Kelley’s work is research-based, internationally produced video installation and photography. His recent projects dealt with themes of infrastructure space, modernization, landscape, the margins of art history and the instrumentalization of art in the built environment. His work has been shown at Museum of Modern Art in New York, DeCordova Museum and Sculpture Park in Lincoln, MA, Commonwealth and Council in Los Angeles, MAAP Space in Brisbane, Bank in Shanghai and Beirut in Cairo. Kelley is assistant professor of art at Wellesley College in Massachusetts.
Frédéric Dialynas Sanchez and Jean-Sébastien Grill, Triangle (2016), Embroidery and thread on cloth, 10 x 15 ft.
Frédéric Dialynas Sanchez lives and works in France and Vietnam. He completed post-graduate studies in Lyon (ENBA, 2008/2009) and Shanghai (École Offshore, 2013/2014). His work focuses on abstraction, collective identities and cultural bricolage. He has participated in numerous projects in Saigon, Hanoi, Shanghai, New York, Boston, Montréal, Fujiyoshida, Rotterdam, Amsterdam, Vienna and Paris.
About the Curator
Chương-Đài Võ is an independent curator based in Hong Kong, where she works for Asia Art Archive as the Researcher for Southeast Asia. Her exhibitions have been selected in curatorial competitions sponsored by apexart in New York City, New Art Center in the Boston area, and Dorsky Gallery in Long Island City. She is a former Mellon Postdoctoral Fellow at Massachusetts Institute of Technology and has received fellowships and grants from Asian Cultural Council, Fulbright Program, the National Endowment for the Humanities and University of California Pacific Rim Research Program. She has a PhD from University of California, San Diego, and a BA from Johns Hopkins University.
Tags: Chương-Đài Võ, David Kelley, Dewey Ambrosino, Fall 2016, Frédéric Dialynas Sanchez, Jean-Sébastien Grill, Nichols Gallery, Patty Chang
- Juan Downey: Radiant Nature
Curated by Robert Crouch and Ciara Ennis
Pitzer College Art Galleries and Los Angeles Contemporary Exhibitions (LACE)
September – December 2017
Tuesday–Friday, Noon – 5 p.m. or by appointment
Nichols Gallery – inside Broad Center at the intersection of Platt Boulevard and Mills Avenue
Lenzner Family Art Gallery – on the north end of Atherton Hall on Pitzer Road
Tags: LACE, Lenzner Gallery, Nichols Gallery, Pacific Standard Time, Upcoming Exhibitions
- Liat Yossifor: Time Turning Paint
September 12-December 11, 2015
Saturday, September 12, 3-5 p.m.
Nichols Gallery, Pitzer College Art Galleries
“The Politics of Painting”
Wednesday, September 30, 4:15 p.m.
Nichols Gallery, Broad Center, Pitzer College
Panelists: Artists Liat Yossifor and Nery Gabriel Lemus, with Kevin Appel, UC Irvine professor of art and Joanna Roche, Cal State Fullerton professor of art history. Moderated by Christopher Michno, writer, critic and independent curator.
This panel discussion is generously supported by the Frederick J. Salathé Fund for Music and the Cultural Arts.
Artists Liat Yossifor and Iva Gueorguieva in conversation with David Pagel, critic, curator and professor of art theory and history at Claremont Graduate University
Wednesday, November 11, 4:15 p.m.
Nichols Gallery, Broad Center, Pitzer College
The Rider (2014); 16 by 12 inches; oil on linen
Although Liat Yossifor’s large-scale monochromatic paintings reference the tradition of Abstract Expressionism through their formal language, they have an entirely different agenda. As such, the exhibition, Liat Yossifor: Time Turning Paint, will explore abstraction as a political form and question the efficacy of both the medium and the genre as well as its relationship to artistic practice in the twenty-first century.
Despite beginning as vibrant blue, red or yellow canvasses, Yossifor’s paintings culminate in somber variations of gray ranging from light slate to almost white. Both tactile and sculptural, these thick impasto paintings are made entirely with palette knives that sculpt, incise and move large quantities of oil paint around on the paintings’ surface. Process-based and performative, these works are governed by a set of rules that delimit the time in which they can be worked on and completed. Produced within three days—the time it takes for the paint to dry—both the color and any discernable representational aspect are erased from the surface, resulting in a void-like space haunted by its expunged referents.
Although Abstract Expressionism is traditionally a male-dominated medium that celebrated the author-as-genius and abstraction as the purist form, Yossifor’s manipulation of the genre as a time-based gendered performance reconfigures the coordinates. In doing so, Yossifor encourages not only an expansion of the vernacular of Abstract Expressionism but also a different kind of meditation on its function and, as a result, its political potential.
About the Artist
Detail: The Rider (2014); 16 by 12 inches; oil on linen
Liat Yossifor has exhibited nationally and internationally. Solo exhibitions include Liat Yossifor: Pre-Verbal Painting at the Contemporary Art Museum, St. Louis, MO (2015); Liat Yossifor: Thought Patterns at Amerigner | McEnery | Yohe, New York, NY (2012); Liat Yossifor: Falling into Ends at Galerie Anita Beckers, Frankfurt, Germany (2010); and Liat Yossifor: The Tender Among Us at the Pomona College Museum of Art, Claremont, CA (2007). Group exhibitions include Stolen Gestures at Kunsthaus Nuremberg, Nuremberg, Germany (2013) and A Reflected Gaze, Torrance Art Museum, Torrance, CA (2010).
Tags: Fall 2015, Liat Yossifor, Nichols Gallery, Past Exhibitions, Time Turning Paint
- NINE: Senior Art Exhibition 2015
Hall of Fame is meant to provoke thought on how marginalized lives are valued in today’s society, and to begin a dialogue about how entertainment affects society’s perception of young people of color. By using trading cards and posters, my work shows how our society glorifies the lives of professional athletes, yet disregards the lives of the minorities who are not entertaining the country with lightning quick crossovers, back-breaking tackles and effortless home runs.
My current focus is dedicated to putting emphasis on race and its social ramifications. I’m interested in shining light on the effect race has on the public in regards to people consciously or unconsciously perpetuating the system of oppression. In my recent video works, I’ve made spatially palpable the issues of being a black body within a post-slavery and post-largely oppressive environment of racial abuse, as well as the tensions formed through the process of racism being reconfigured and changing throughout the timeline of modern day. I’m committed to making predominantly white societies, schools, communities, cultures, work forces and institutions aware of these dislocations, highlighting issues that all too often remain unconscious.
I focused on the intersection between form and function in the automotive, motorcycle and aircraft industries. I strive to define an adrenaline-filled and athletically stimulating lifestyle through my strategic use of stills and motion pictures. By playing with the language of mainstream advertising, I’ve created a body of work composed of stories that range from motor vehicle advertisements to character-driven documentaries. My final project looks at the militarization of our nation’s airports and urges viewers to question, “What are we protecting?”
I was born and raised in Los Angeles. While I have experimented with political subjects, I always seem to draw on personal experience. My intimate experiences are more compelling when expressed through the markings of my hands and body. My subjects are personal, reflecting childhood and loss. Being an only child, I became accustomed to solitude and temporary periods of abandonment, which carried on to my adulthood through my romantic relationships.
Connecting my artistic practice to my career goals as a veterinarian I bring my love of animals and biology into my drawings and paintings. My current work depicts animals typically perceived as inferior beings. Through illustrating “undesirable” animals at human scale and in vibrant color, I am trying to dismantle the anthropocentrism of the average viewer and have them understand these animals in a new way.
When creating an artwork, the concept and message always come first, long before I know what physical form it will take; while I’ve spent most of my time at Pitzer making drawings and videos, my final piece is an interactive performance piece. Inspired by innovative artists like Tino Sehgal, Marina Abramovic and Janet Cardiff, my work explores communication by engaging the audience, challenging our tendency to avoid vulnerability by hiding behind digital walls.
I use sound, film and performance as a means of exploring somatic representation of human relationships. My movement is deeply influenced by my study of the Alexander Technique and inspired by the dynamic, confrontational choreography of Pina Bausch. Bell hooks has grounded the theory of relationship intentionality and loving in my work. My fluid sense of home began in Boston and has continued through Pittsburgh, Germany, central Illinois.
I use studio portrait photography, combined with cyanotype or “sun” printing to create photographs that are about the attitudes college students have toward their surrounding material world. By involving peers in the sun printing process, my hope is that they will feel empowered to question and strengthen their own philosophy of objects and, in doing so, become better users and makers rather than buyers and consumers.
#takecareofyourself is an audience-driven installation that shows how different levels of balance and self control create an exploration of what is considered to be “healthy.” This installation is also a reflection for the audience to not forget to treat yourself. Treating yourself is the first step in taking care of yourself. So indulge to satisfy that sweet-tooth craving with the treats provided, and enjoy.
Tags: Adrian Brandon, Alyssa Woodward, Ari Saperstein, Cameron Carr, Dan Stranahan, Leah Pomerantz, Lenzner Gallery, Leonard Schlör, Nichols Gallery, NINE, Past Exhibitions, Pitzer Art Galleries, Raz Krog, Rocío Medina, Senior Art Show, Spring 2015
January 24–March 26, 2015
Nichols Gallery, Broad Center
Curated by Ciara Ennis
Stephanie Syjuco, Cargo Cults (Head Bundle) (2013/2014), C-print, 40 x 30 inches Studio portrait using mass-manufactured goods, purchased on credit and returned for full refund after photoshoot. Courtesy of the artist and Catharine Clark Gallery
Joshua Callaghan, Chris Cobb, Michael Decker, José Clemente Orozco Farías, Clare Graham (MorYork), Nina Katchadourian, Alice Könitz, Elana Mann, Rachel Mayeri, Melanie Nakaue, Jenny Perlin, Steve Roden, Vivian Sming, Stephanie Syjuco, Chris Wilder, Jenny Yurshansky and First Street Gallery Art Center artists: Herb Herod, Evan Hynes, Joe Zaldivar
In contrast to current museological models that derive their practices from their nineteenth century counterparts, the wunderkammer—generally regarded as a prototype for the first museums—can provide an alternative. Distinguished by their eclectic and all-encompassing collections, these early museums celebrated heterogeneity and difference as accolades—objects collected ranged from functional everyday artifacts to biological anomalies. Their interdisciplinary and all-inclusive practice resulted in a non-hierarchical approach; value was assigned according to the object’s polyvalent signifying power, its ability to be endlessly interpreted rather then categorically determined. As their name suggests, these museums championed wonderment as a vital tool for knowledge acquisition.
By providing a different rubric, these early models can offer an alternative lens to critique prevailing exhibitionary practices by calling attention to the codes and conventions of current display strategies, chronological placements, and exhibition typologies. By interrogating these classificatory norms it is possible to examine how these taxonomic structures dictate behavior in other areas of our lives—labor, leisure, culture—and by extension their impact on how we self identify or are identified by others—race, class, sexuality, gender. As a result, the wunderkammer model provides an opportunity to examine how knowledge is produced and disseminated, controlled and manipulated.
Steve Roden …I listen to the wind that obliterates my traces: Music in Vernacular Photographs, 1880-1955 (2011) Found photograph, Dimensions variable
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.
Tags: Alice Könitz, Chris Cobb, Chris Wilder, Ciara Ennis, Clare Graham, Elana Mann, Evan Hynes, First Street Gallery, First Street Gallery Art Center, Herb Herod, Jenny Perlin, Jenny Yurshansky, Joe Zaldivar, José Clemente Orozco Farías, Joshua Callaghan, Melanie Nakaue, Michael Decker, MorYork, Nichols Gallery, Nina Katchadourian, Past Exhibitions, Rachel Mayeri, Spring 2015, Stephanie Syjuco, Steve Roden, Vivian Sming
- Racial Imaginary
September 20 – December 5, 2014
Artists: Liz Cohen, Edgar Endress, EJ Hill, Todd Gray, John Jota Leaños, Nery Gabriel Lemus, Charles McGill, Amitis Motevalli, Dread Scott, Alice Shaw, Kyungmi Shin, Texist, Ian Weaver and Jay Wolke
Amitis Motevalli Confiscated Portrait of the Artist as a Young Rebel (2005/2010) Digital C-print Dimensions variable
Racial Imaginary is an interdisciplinary exhibition that looks at the intersection of poetry, prose and contemporary art. It is a further iteration of the book and will feature the visual artists who have struggled alongside their literary counterparts in constructing a creative discourse that focuses on its subjects not as objects, of individual outlines discernable apart from the overwhelming contrast of their landscape. The creative imagination is framed by its palpable confines; the history of women is primarily written in relationship to men, of Blacks (and others) in relation to Whiteness. How does an artist—literary, visual, performative—contrive a vernacular that is rich and evocative but doesn’t reproduce familiar narratives and binaries?
Edgar Endress Still from Acts of Erasure nº2 (2014) Video 00:55 min.
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.
Saturday, September 20, 2-4 p.m.
Alice Shaw Opposite #5 (2007) Gold toned gelatin silver print Diptych, 8 x 10 in. each
Thursday, October 9, 11 a.m.
Artist Amitis Motevalli will join Professor Bill Anthes and his First Year Seminar students to discuss her work.
The Annual Murray Pepper & Vicki Reynolds Pepper Distinguished Visiting Artist & Scholar Lecture Series
Monday, November 10, 4:15 p.m.
George C.S. Benson Auditorium
In conjunction with the exhibition, Claudia Rankine will discuss her book Racial Imaginary with co-editors, Beth Loffreda and Max King Cap.
“Art in Writing” workshop led by Claudia Rankine, Beth Loffreda and Max King Cap
Tuesday, November 11, 11 a.m.
All events are free and open to the public.
About the Artists
Claudia Rankine is the author of four collections of poetry, including Don’t Let Me Be Lonely and the plays, Provenance of Beauty: A South Bronx Travelogue (co-authored with Casey Llewellyn). Rankine is co-editor of American Women Poets in the Twenty-First Century series (Wesleyan University Press). Forthcoming in 2014 are That Were Once Beautiful Children (Graywolf Press) and The Racial Imaginary (Fence Books). A recipient of fellowships from the Academy of American Poets and the National Endowment for the Arts, Rankine teaches at Pomona College.
Liz Cohen’s performance art/photography has been shown extensively throughout the US and Europe. Cohen is represented by Salon 94, Galerie Laurent Godin and David Klein Gallery. She is an artist-in-residence at the Cranbrook Academy of Art.
Edgar Endress teaches new media and public art at George Mason University. Born in Chile, he has exhibited extensively throughout the Americas. His work focuses on syncretism in the Andes, displacement in the Caribbean and mobile art-making practices. He received his MFA in Video Art from Syracuse University. He has received grants and fellowships from numerous institutions, including the Virginia Museum of Fine Arts and the Creative Capital Fund.
EJ Hill is a performance artist who continually struggles with the complexity of the body’s cultural and historical inheritances and implications. A native of South Central Los Angeles, Hill’s work has been exhibited throughout the US and internationally. He received his MFA from the University of California, Los Angeles.
Todd Gray is a professor of art at California State University, Long Beach. Gray has shown his work throughout the US and internationally. He is represented in the permanent collections of the National Gallery of Canada; San Francisco Museum of Modern Art; Los Angeles County Museum of Art; MOCA, Los Angeles; University of Parma in Italy; and other collections. He received his BFA and MFA from California Institute of the Arts.
John Jota Leaños is a social art practitioner who utilizes a range of media focusing on the convergence of memory, social space and decolonization. His work has been shown at the Sundance 2010 Film Festival and the 2002 Whitney Biennial, among others. Leaños is a Creative Capital Grantee and a Guggenheim Fellow (2013) who has been an artist-in-residence at many institutions. Leaños is an associate professor of social documentation at the University of California, Santa Cruz.
Nery Gabriel Lemus is a Los-Angeles based artist whose work addresses issues of stereotype and immigration, the intersection of racial and dissociative racism; and the poverty, abuse and neglect that can lead to the failure of families. Lemus is a recipient of a COLA Fellowship Grant from the Department of Cultural Affairs, Los Angeles, and the Rema Hort Mann Foundation Fellowship Award. He is represented by Charlie James Gallery in Los Angeles. Lemus received his BFA at Art Center College of Design in Pasadena and his MFA at the California Institute of the Arts. He also attended the Skowhegan School of Painting and Sculpture in Maine.
Charles McGill is a multidisciplinary artist whose work has been exhibited in the US and Europe and has been reviewed in The New York Times and Art in America. A recipient of the 2014 recipient of the distinguished Pollock Krasner Foundation Grant, an Art Matters and New York Foundation for the Arts grant, as well as fellowships from the Ford Foundation and the Virginia Center for the Creative Arts, he is a former artist-in-residence at the Museum of Arts and Design in New York. McGill received an MFA from the Maryland Institute College of Art and is is an Assistant Professor at The Borough of Manhattan Community College in in NYC. He is represented by Pavel Zoubok Gallery in New York.
Amitis Motevalli was born in Iran and moved to the US in 1977, prior to the revolution. She explores the cultural resistance and survival of people living in poverty, conflict and war. Her working-class immigrant background drives her art that contests stereotypical beliefs about people living in diaspora and criticizes of the violence of dominance and occupation, while invoking the significance of secular grassroots struggle. Motevalli works with transnational Muslims, across economic and political borders, to create an active and resistant cultural discourse. She lives and works in Los Angeles.
Dread Scott makes revolutionary art to propel history forward. In 1989, the entire US Senate denounced his artwork and President George H. Bush declared it “disgraceful” because of its use of the American flag. His work is exhibited in the US and internationally. A recipient of a Creative Capital Grant, his work is included in the collection of the Whitney Museum of American Art.
Alice Shaw is an artist and educator based in San Francisco, CA. Her photographs have been shown internationally. Shaw is represented by Gallery 16 in San Francisco. A graduate of the San Francisco Art Institute and a recipient of a 2002 Artadia Award, Shaw often infuses personal/reflexive documentation with humor and poignancy. She has practiced photography for more than 25 years and she has been a visiting lecturer at University of California, Davis, University of California, Santa Cruz, University of California, Berkeley, San Francisco State University, The California College of Art and The San Francisco Art Institute. Her book, People Who Look Like Me, was published in April of 2006.
Kyungmi Shin, a sculptor and an installation artist, has received grants from the California Community Foundation, Durfee Grant, Pasadena City Individual Artist Fellowship and LA Cultural Affairs Artist-in-Residence program. Since 2004, she has created numerous public art projects across the nation, including Los Angeles, CA, Winston-Salem, NC, Chicago, IL, and Norfolk, VA. She received her MFA from UC Berkeley.
Ian Weaver is a Chicago-based visual artist and teaches in South Bend, IN. He received his MFA in Visual Art from Washington University in St. Louis and his work has been seen at many museums. He has been a recipient of numerous residencies, including Yaddo and the Millay Colony, and his awards include grants from Artadia and the Joan Mitchell foundations.
Jay Wolke is an artist and educator living in Chicago. He has authored three photographic monographs, including most recently Architecture of Resignation: Photographs from the Mezzogiorno (Center for American Places– Columbia College Press, 2011). Wolke earned his BFA at Washington University, St. Louis and his MS at IIT Institute of Design. His photographs are in many permanent collections. He is a professor and chair of the Art and Design Department, Columbia College, Chicago.
Tags: Alice Shaw, Amitis Motevalli, Charles McGill, Dread Scott, Edgar Endress, EJ Hill, Fall 2014, Ian Weaver, Jay Wolke, John Jota Leaños, Kyungmi Shin, Liz Cohen, Nery Gabriel Lemus, Nichols Gallery, Past Exhibitions, Texist, Todd Gray
ONE EXHIBITION IN TWO PARTS
Pitzer College Art Galleries
January 21-March 28, 2014
Pomona College Museum of Art
January 21-April 13, 2014
The exhibition “#sweetjane” includes new work by Los Angeles-based artist Andrea Bowers that examines the notorious Steubenville, Ohio, high school rape case. In addition to a new series of drawings, “#sweetjane” comprises a video based on Bowers’s three trips to Steubenville that documents the protest surrounding the trial and activities of “hacktivist” group Anonymous. Her return to Ohio to document the Steubenville case is a form of personal mapping of thirty years of violence against women.
The exhibition unfolds over two campuses and is the second collaborative project between the Pomona College Museum of Art and the Pitzer College Art Galleries.
Saturday, January 25, 5-6 pm
Nichols Gallery, Pitzer College Art Galleries
Saturday, January 25, 6-7 pm
Pomona College Museum of Art
LECTURE: MARIA ELENA BUSZEK
Wednesday, March 12, 4:15 pm
George C.S. Benson Auditorium, Pitzer College. Reception to follow at the Nichols Gallery, Pitzer College Art Galleries.
Maria Elena Buszek is an associate professor of art history at the University of Colorado, Denver, and the Bowers catalogue essayist.
Tags: Andrea Bowers, Nichols Gallery, Past Exhibitions, Pomona College Museum of Art, Spring 2014
- GLYPHS: ACTS OF INSCRIPTION
Curated by Renée Mussai and Ruti Talmor
September 19 – December 5, 2013
Nichols Gallery and The Kallick Family Gallery, Pitzer College Art Galleries
Artists: John Akomfrah, Cheryl Dunye, Rotimi Fani-Kayode, Lyle Ashton Harris, Zanele Muholi, Mwangi Hutter, Andrew Putter, Mickalene Thomas and Carrie Mae Weems
GLYPHS: ACTS OF INSCRIPTION builds on the premise that identities are constituted through acts of inscription—real or imagined—into the visual archives that constitute history, popular iconographies and artistic canons. GLYPHS probes the consequences of such acts on the poetic and political dimensions of representation, difference and visibility.
The exhibition program is funded by the Andrew W. Mellon Foundation, the Pitzer College Art Galleries, the Pasadena Art Alliance, the Pitzer College Forum Fund, the Murray Pepper & Vicki Reynolds Pepper Distinguished Visiting Artist & Scholar Lecture Series Endowed Fund and the Endowed Fund for Media Studies.
For more information visit the GLYPHS website.
Tags: Andrew Putter, Carrie Mae Weems, Cheryl Dunye, Fall 2013, John Akomfrah, Kallick Gallery, Lyle Ashton Harris, Mickalene Thomas, Mwangi Hutter, Nichols Gallery, Past Exhibitions, Renée Mussai, Rotimi Fani-Kayode, Ruti Talmor, Zanele Muholi
- Martha Wilson
January 26 – March 22, 2013
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.
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.
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.
Tags: ICI, Martha Wilson, Nichols Gallery, Past Exhibitions, Spring 2013