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| février 2010 »
Paradoxes in Video
Saturday, February 6 @ 6 pm
Garage Gallery
4141 Alabama Street
San Diego, CA
Last September Garage posted an open call on the net requesting submissions for a video exhibition investigating "paradoxes within performance/performative actions that find their way into video/editing."
This Saturday Garage presents the work selected.
The screening is at 6 pm. Seating is limited — if you have a chair to bring, Larry would appreciate it.
from the press release
Dave Ghilarducci - "Circle of Complication"
FOR IMMEDIATE RELEASE
Contact: Brian Goeltzenleuchter | Curator | 858.602.8448 | brian@cphomedecor.com
Contact: Patrick Stewart | Executive Director | 619.235.8466 | patrick@sushiart.org
"Circle of Complication", kinetic sculpture and drawings by Dave Ghilarducci
February 4 - 27, 2010 | Exhibition Reception: February 5, 6 - 9PM
Sushi Performance and Visual Art presents "Circle of Complication", a kinetic sculpture and series of drawings by Dave Ghilarducci.
Dave Ghilarducci’s artwork investigates perception on an everyday level, often using popular technology as the subject and object of artistic inquiry. Circle of Complication is an electronically mechanized sculpture designed to make drawings reminiscent of those made by a child using a Spirograph toy. In Ghilarducci's work, however, the drawings are made at large scale using a program designed to produce a series of random operations. Circle of Complication simultaneously evokes the spontaneous discovery of child's play and the complex laws of math and science that govern its creation.
Dave Ghilarducci was born and raised in Chicago, Illinois. He currently lives and works in Escondido, California. He studied engineering and physics at University of Illinois at Chicago. After graduating, Ghilarducci worked as an engineer, developing a range of culturally substantive objects - from rockets to Palm Pilots. He left the engineering word in 2006 to work full time as an artist. Ghilarducci’s work is often interactive and engages viewers while reminding them of the various and often transparent ways technology is used to manage interactions. Although still quite early in his career, Dave Ghilarducci’s work has garnered critical validation. His work has been exhibited at Track 16 Gallery and Oceanside Museum of Art, and later this year at Art Produce Gallery.
from the press release
How Many Billboards? Art In Stead
February 5 - March 12, 2010
Reception: Saturday, February 27, 1-5 pm
www.howmanybillboards.org
The MAK Center for Art and Architecture at the Schindler House is pleased to announce its most ambitious project to date: How Many Billboards? Art In Stead. This large-scale urban exhibition debuts 21 newly commissioned art works for billboards in Los Angeles.
Participating artists:
Kenneth Anger / Michael Asher / Jennifer Bornstein / Eileen Cowin / Christina Fernandez / Ken Gonzales-Day / Renée Green / Kira Lynn Harris / John Knight / David Lamelas / Brandon Lattu / Daniel Joseph Martinez / Kori Newkirk / Yvonne Rainer / Martha Rosler with Josh Neufeld / Allen Ruppersberg / Allan Sekula / Susan Silton / Kerry Tribe / James Welling / lauren woods
Each artist has produced a work especially for this exhibition that responds to the medium of the billboard and interprets its role in the urban landscape. How Many Billboards? investigates art as an idea as well as art as a media for critical intervention.
The exhibition will be located on major boulevards from LAX to central Los Angeles bounded by Washington, La Cienega, Hollywood, and Sunset Boulevards.
Watch the project unfold and subscribe for up-to-date information at www.howmanybillboards.org or follow us on Twitter at www.twitter.com/MAKBillboard.
How Many Billboards? Art In Stead is organized by MAK Center Director Kimberli Meyer with co-curators Lisa Henry, Dr. Nizan Shaked, and Dr. Gloria Sutton, and public art consultant Sara Daleiden.
An orientation station with maps, an exhibition overview, and information on the artists will be on view at the Schindler House through May 2010. A series of public programs and bus tours will be presented to explore the billboard works and examine the relationships between outdoor media, urban space, and visual rights. See program calendar below.
How Many Billboards? Art In Stead is generously supported by the Emily Hall Tremaine Foundation Exhibition Award. Additional funding has been provided by the National Endowment for the Arts; the City of Los Angeles, Department of Cultural Affairs; the City of West Hollywood Arts and Cultural Affairs Commission; the Los Angeles County Arts Commission; and the Audrey and Sydney Irmas Foundation. A special thanks for the in-kind support provided by Rick Robinson, MacDonald Media; and the outdoor advertising industry of Los Angeles.
PUBLIC PROGRAMS:
ARTIST RECEPTION AND DISCUSSIONS
Saturday, February 27, 1-5 pm
How Many Billboards? Reception for the artists, with bus tours of the exhibition
Sunday, February 28, 1-5 pm
How Many Billboards? Panel discussions with participating artists
Location: MAK Center for Art and Architecture at the Schindler House, 835 N. Kings Road, West Hollywood, 90060
Admission: Free
Parking: Public structure at the northeast corner of Kings Road and Santa Monica Boulevard
TOURS
Guided Bus Tours with Curators: The MAK Center will offer open top bus tours led by curators. Schedule details to come.
Bus Tours on Metro: All works will be located on public bus lines. The MAK Center is partnering with the Metropolitan Transit Authority (Metro) to encourage public transit bus ridership as a way of viewing the exhibition due to its geographic scope.
Bike Tours: The MAK Center will work with cycling groups to lead bicycle tours of the exhibition. Details to come.
SCREENINGS
Thursday, March 11, 2010, 6:30pm
Thursday, April 8, 2010, 6:30pm
How Many Billboards? Film and Video Screenings
Co-presented by the MAK Center for Art and Architecture at the Schindler House and the Museum for Contemporary Art, Los Angeles (MOCA)
Film and video works by participating artists Jennifer Bornstein, Eileen Cowin Renée Green, David Lamelas, Allan Sekula, and Kerry Tribe.
Location: MOCA Grand Avenue, Ahmanson Auditorium
Parking: www.moca.org/pdf/Parking_directions_GA.pdf
Admission: Free
PANEL DISCUSSIONS and LECTURES
Wednesday, March 24, 2010, 7pm
How Many Billboards? Panel: Visual Rights to the City
Co-presented by the MAK Center for Art and Architecture at the Schindler House, the Library Foundation of Los Angeles and California Lawyers for the Arts
This panel, comprised of outdoor media professionals and legal experts, will focus on the city's recent debate surrounding LED billboards and illegal signage, and examine free speech rights as they relate to images on the streets. The panel will be facilitated by panel series curator Anne Bray of Freewaves.
Participating Panelists:
Toby Miller, Professor of Media & Cultural Studies, UC-Riverside
Rick Robinson, General Manager, MacDonald Media
Christine Pelisek, Journalist, LA Weekly
John Tehranian, Attorney and Partner, One LLP
Location: ALOUD at Central Library Mark Taper Auditorium, Fifth & Flower Streets, Downtown Los Angeles, 90071
Admission: Free, reservations recommended: www.aloudla.org or (213) 228-7025
Parking: 524 S. Flower St. Garage, $1 until 8:45 p.m. with Los Angeles Public Library card validation
Tuesday, April 6, 2010, 7pm
How Many Billboards? Lecture: Renée Green
Co-presented by the MAK Center for Art and Architecture at the Schindler House and the Master of Public Art Studies Program at the University of Southern California Roski School of Fine Arts in Los Angeles
Location: MAK Center for Art and Architecture at the Schindler House, 835 N. Kings Road, West Hollywood, 90060
Admission: Free with the price of admission to the Schindler House or USC student ID
Parking: Public structure at the northeast corner of Kings Road and Santa Monica Boulevard
Thursday, April 15, 2010, 7pm
How Many Billboards? Panel: The Visual Ecology of Advertising and Architecture
Co-presented by the MAK Center for Art and Architecture at the Schindler House, the Southern California Institute of Architecture (SCI-Arc) and the Goethe-Institut Los Angeles
This panel, comprised of outdoor media, art, architecture, and planning experts, will focus on current architectural signage and surface strategies to review the city's relationship between consumer ads and urban structures. The panel will be facilitated by panel series curator Anne Bray of Freewaves
Participating Panelists:
Bill Roschen, Principal, Roschen van Cleve Architects
Mirjam Struppek, President, International Urban Screens Association
Alan Bell, Senior City Planner, City of Los Angeles
Dennis Hathaway, President, Coalition to Ban Billboard Blight
Location: SCI-Arc W. M. Keck Lecture Hall, 960 East 3rd Street, Downtown Los Angeles, 90013
Admission: Free
Parking: The building entrance and parking lot are located at 350 Merrick Street, between 4th Street and Traction Avenue. Parking is free.
BOOK LAUNCH
The MAK Center will host a book launch at the Schindler that will consist of a panel comprised of artists, designers, and critics involved in questions surrounding art and popular media culture. Details to come.
The MAK Center for Art & Architecture at the Schindler House is located at 835 N. Kings Road in West Hollywood. Public hours are Wednesday through Sunday, 11 a.m. to 6 p.m. Free admission for Friends of the Schindler House and on Fridays, 4 to 6 p.m. Parking is available at the public structure at the northeast corner of Kings Road and Santa Monica Boulevard. For further information, contact www.MAKcenter.org or call (323) 651-1510.
by Richard Gleaves
In the context of reviewing the current show at MOCA, ArtScene writer Mario Cutajar sidehands some acute insights for the benefit of artists, critics, and galleristas who find themselves unhappy with their current place in the world:
This imperative to ceaselessly produce stuff and fill ... large empty spaces ... is for me one of the most oppressive features of contemporary art…
I cannot help but think that this horror [of empty spaces] that drives artists to incessant production is the apprehension that the time of art is over. Duchamp announced as much with his ready-mades but we’ve pretended that those were just provocations. We’ve read Walter Benjamin on the death of the aura and technology’s reduction of art to distraction.
But the aura of the artwork, which was its connection to the sacred, couldn’t be allowed to evaporate because, strangely enough, art cannot be commodified without some remnant of the sacred remaining associated with it. The paradox is that we need art to have something like a “soul” in order to trade it at a price above what mere goods fetch.
The last purchase that art had on something resembling spirituality was through the much-abused notion of criticality. That too is now used up thanks to the postmodernist conflation of critique and complicity.
And despite attempts to reinvent the idea of community through subcultural affiliation, community would seem to require a foundation that exceeds the atomizing power of capital, which ceaselessly uproots and disperses people...
The larger question of what art’s purpose might be beyond amusing jaded rich people or contributing a veneer of [civic] sophistication ... will remain.
This should not be seen as a manifesto to commit identity suicide and take up volleyball, but rather as a call to think and think hard about all aspects of your practice, and then strive to ensure that none are based on the boatload of received ideas that pass these days for art.
One possible art centers on the idea of user experience — a kind of interactive participatory static theatre — which can be pursued in venues as large as the Jacobs building, or as small as a zine. In such a paradigm the traditional art object assumes the role of recyclable prop. But this is only one of many possible approaches: the important thing is to pursue a practice that actually fits with what's happening today in your life, in your society, on your planet.
by Richard Gleaves
Brian Goeltzenleuchter - photo: SD CityBeat
Parts of a whole
Artist Brian Goeltzenleuchter has control of Sushi's gallery space for the next few months—here's how he'll use it
by Kelly Davis
You can’t fully appreciate Brian Goeltzenleuchter as a curator unless you know a little something about him. He’s the guy whose 2009 Institutional Wellbeing exhibit at the Oceanside Museum of Art—a show for which he blended an unlikely combination of performance art, custom fragrance and applied kinesiology to produce a critique of consumer culture and art-as-entertainment. It wasn’t much different than conceptual-art installations Goeltzenleuchter has exhibited nationally and internationally, but this is traditionally minded San Diego and the exhibit didn’t go over too well with some museum-goers. more...
All I got to say is congrats and this: "Tout vient à point à qui sait attendre" kf
click for larger image
thanks to Brian Goeltzenleuchter for the link
photo: Arnold Newman/Getty Images
The Instant Art Critique Phrase Generator
Salvation is here!
Feeling inarticulate? Critically gauche? Or just verbally impotent?
We here at Pixmaven have developed The Instant Art Critique Phrase Generator so you need never again feel at a loss for pithy commentary or savvy "insights." With this device you can speak about Art with both authority and confidence. Use this marvellous tool to amaze and confound friends and colleagues. Don't miss this opportunity to menace and dumbfound professors and artists emeriti! more...
by Kathryn Law
"Is it Damien Hirst?" - Robert Matheny from the series Fishing for Fame & Fortune:
Portraits of Celebrity Artists, Sea Creatures, Vegetarian Fish & Lures
The Spectacle (and Speculation) of Celebrity
by Kathryn Law
The role of the art collector, and consequently, that of the artist, has changed greatly since Marcel Duchamp's famous manifesto of 1957, The Creative Act. In this legendary essay, Duchamp described "the two poles of the creation of art: the artist on the one hand, and on the other the spectator who later becomes the posterity." Those two poles of creation still exist, but they are now defined in a much different way than Duchamp might have
envisioned.
In the art world, there have always been people who had the power to advance an artist's career: well-connected patrons, salon curators, gallery owners, art critics (e.g. Clement Greenberg). But today's celebrity collectors and dealers have changed the dynamic of art production and publicity, wielding the financial power to arbitrarily make or break an artist's career. This phenomenon is epitomized by the wealthy collector and business magnate Charles Saatchi, who began collecting art in the 1970's; by the 1990's, he had the means to elevate an artist from relative obscurity to fame, almost overnight. It was he who made the "Young British Artists" a household word. This is not to say that such artists are without merit; certainly many of them have much to offer. But some (Damien Hirst is a prime example) can recognize a golden commercial opportunity for what it is and exploit it to maximum advantage. Demonstrating his marketing savvy, Hirst has created nearly 1,000 very similar paintings depicting rows of colored dots on a white background. Each of these numerous paintings easily commands at least six figures. In a way, he is turning out editions for the speculators.
Most buyers of such works view them as investments, objects of speculation whose appraisal goes no further than the monetary value attributed to the work by the (celebrity) dealer or collector presenting it. For these high-rollers of the art world, a collection is like a stock portfolio; the trends and values might be assessed in the same way. Likewise, inclusion in the collection of a wealthy celebrity buyer further elevates an artist's value, and enhances the reputation of the dealer or collector who promoted the work.
Fifty years ago, Duchamp wrote: "the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualification." But the everyday viewers of modern exhibits have a greatly-reduced role compared to spectators of the past. People are drawn to spectacle, particularly when large quantities of money and a dash of scandal are involved. They are poorly informed in matters of art appreciation, perhaps in part because they sense that their opinions of the works don't matter. Some people merely hope for an opportunity to mount a suitable display of outrage over "what passes for art these days." What better example than the uproar over Chris Ofili's piece in Saatchi's "Sensation" show of the late '90's: a portrait of the Virgin Mary adorned with elephant dung. Ofili was a virtual unknown before being selected by Saatchi for this exhibit; he became notorious
overnight when this painting was the cause of a lawsuit filed by Mayor Giuliani and the City of New York against the Brooklyn Museum of Art. An incensed citizen smuggled in a can of white paint and attempted to destroy the painting with it. Sensation, indeed!
Do these works have artistic merit? Time is the ultimate arbiter. Artists such as Julian Schnabel and David Salle, who enjoyed celebrity in the early 1980's, have not stood up well to time-honored appraisal by art historians. Neither artist rates so much as a mention in the most recent editions of the most authoritative art history textbooks. Perhaps this, then, is the other "pole of creation". Not the power-broker dealer, not the obscenely wealthy speculator, not the sensation-crazed and scandal-hungry viewer. Free of the influence of the celebrity power brokers, art scholars will ultimately fulfill the spectator's role (as described by Duchamp) in deciphering each work's place in the external world.
Woodbury School of Architecture launches a new series of exhibitions featuring the work of local artist and designers. Please join us in welcoming Los Angeles based artist Ryan Logan for an installation of new works and drawings.
click for larger image
from the press release
Brian Goeltzenleuchter - Teri Sowell
Movers & Shakers 2: Who’s Who in the San Diego Visual Arts World
Local Artists Portray Local VIPs
Reception: Thursday, Jan 21 from 6:30 to 8:30pm
Show continues until Saturday, Feb 6, 2010
Art Expressions Gallery: 2645 Financial Court, Suite C, SD, 92117
Exhibition hours: Monday - Friday 9am-5pm, Saturday 10am-5pm
Info: Patricia Frischer 760.943.0148 or Patricia Smith 858.270.7577
Visit the Movers and Shakers website for Artists and Movers and Shakers biographies as well as VIP views of their visions for the future of the visual arts in San Diego in Part One and Part Two of this project. The website is sponsored by SDVAG. Part Two will be completed by January of 2010 and on display at Art Expressions Gallery. We are delighted to present a Catalog of Portraits of Part Two.
List of Artists with Movers and Shakers 2
James Aitchison - Anita Edman, Director, Solana Beach City Hall Gallery
Joseph Bennett - Irène de Watteville , Board member Synergy Arts Foundation and Tile Heritage Organization
Nancy Bergmann - Carolyn S. Mickelson, Chair of the City of Oceanside Arts Commission, Vice-President of Oceanside Museum of Art, President, Creative Designs, Inc.
Jenifer Broomberg- Ian Ashley
Ashley Blalock - Carol McCusker, Ph.D., Curator of Photography, Museum of Photographic Arts, San Diego
Alberto Caro - Ernest Silva Professor of Visual Art, University of CA, San Diego
Josue Castro - Deborah Klochko , Director, Museum of Photographic Arts
Petyr Cirino - Mollie Kellogg , Coordinator, UU Art Guild and Bard Hall Gallery
Renee Corwin - Dottie Stanley, President, Patrons of the Prado
Marianela de la Hoz - Pierrette Van Cleve, Director, Van Cleve Fine Art
Mireille des Rosiers - Sharon L. Gorevitz, Producer, Talmadge Art Show and Corporate Development Executive, KPBS, Steven Nossan, Director, Front Porch Gallery and Creative Director, Studio Masern Claire Slattery Vice Chair, Board of Directors, San Diego Art Institute
Ellen Dieter - Andrea Chamberlin, San Diego Art Department, Tim Field, President & CEO, San Diego Art Institute, Kerstin M. Robers, Director of Admin, San Diego Art Institute
Max Dolberg - Jerry Waddle, Ducky Waddle's Emporium
Shahla Dorafshan - Andrea Chamberlin, San Diego Art Department, Tim Field, President & CEO, San Diego Art Institute, Kerstin M. Robers, Director of Admin, San Diego Art Institute
Renee Bonorand Fleming - Ron Jessee, Visual Arts Coordinator, Region 9 VAPA Lead, San Diego County Office of Education
Will Gibson - Abraham P. Ordover, Owner The Ordover Galleries, Solana Beach/SD Natural History Museum
Vero Glezqui - Rachel Teagle, Executive Director of The New Children’s Museum
Brian Goeltzenleuchter - Teri Sowell , Director of Exhibitions and Collections, Oceanside Museum of Art
Michael C. Gross - James Skip Pahl - Director, Oceanside Museum of Art
José Alfredo Gutierrez - Jimenez Julio Rodríguez Ramos and Cecilia Ochoa V. Co-Director, Entijuanarte
Michèle Guieu - Lynn Susholtz, Owner, Stone Paper Scissors and Art Produce Gallery
Becky Guttin - Ron Newby , Curator, The Bronowski Art & Science Forum
Norma Brown Hill - Erika Torri, J oan & Irwin Jacobs Executive Director of the Athenaeum Music & Arts Library
Georgia Hoopes - Robert C. Wright, Founding Member Wright & L’Estrange
Suda House - Jennifer Spencer
Jeffery Laudenslager - Patricia Frischer, coordinator, San Diego Visual Arts Network
Ron Lemen - Sebastian Capella, Master teacher
Vanessa Lemen - Jim Gilliam, Arts Administrator, City of Encinitas
Mary Margaret - Paul Vauchelet
Kelly Mellos - Debra Turner-Emerson, MBA, Executive Director, St. Madeleine Sophie’s Center
Richard Allen Messenger - Andrea Chamberlin, San Diego Art Department, Tim Field, President & CEO, San Diego Art Institute , Kerstin M. Robers, Director of Admin, San Diego Art Institute
Irina Negulescu - Sandi Cottrell, Managing Director of Mission Federal ArtWalk and Art Walk on the Bay
Herb Olds - Mark-Elliott Lugo, Library Curator, San Diego Public Library/Visual Arts Program
Stathis Orphanos - Charles Bronson, Vista Art Foundation
Julio Orozco - Luis and Gerda Ituarte, Consejo Fronterizo de Arte y Cultura (COFAC)/Border Council of Arts and Culture
Tony Peters - Patti and Coop Cooprider, art collectors and advocates
Lee Puffer - Karen McGuire, Curator of Exhibitions, City of Carlsbad’s William D. Cannon Art Gallery
Deanne Sabeck - Ted Washington, Pruitt Igoe and Puna Press
Cheryl Sorg - Angela Carone, Arts and Culture Producer at KPBS
Jennifer Spencer -Suda House
Dottie Stanley - Vicky DeLong , Executive Director Bonita Museum & Cultural Center
Michael Steirnagle - Joanna Bigfeather
Kim Treffinger - Gerrit Greve, Arts for Healing and Board Member, Synergy Art Foundation
Fritzie Urquhart - Joni Miringoff , Co-Founder of ArtSplash
Brian Weisz - Kathy Rubesha, Board Chairperson, California Center for the Arts Escondido
NC Winters - Melissa Inez Walker, Director, Distinction Gallery and Artist Studios
Movers & Shakers: (plural noun) very important, influential or innovative San Diegans in the visual arts community.
Mission: To recognize the people who make the San Diego art world spin through an online and gallery exhibition of portraits by San Diego regional artists.
Goals:
Educate the public about the efforts of the San Diego “Movers & Shakers” and their tremendous impact on the health of the art community.
Foster relationships between the “Movers & Shakers” and San Diego artists.
Promote San Diego regional artists and the art of portraiture through the Art Expressions Gallery, SDVAN and SD Visual Artists Guild.
Foster awareness of San Diego Visual Arts Network and the roles we take in nurturing collaborations and creating artist recognition.
Encourage Art Collecting and Connoisseurship
Description: Unyielding enthusiasm, imagination, dedication and an intense love of art, drives the individuals who shape the art community in San Diego County. Artists, art collectors, students, teachers and the community at large all benefit from the extraordinary efforts of those who help put the San Diego cultural scene on the map. Movers and Shakers: Who’s Who in the San Diego Visual Arts World will celebrate these influential people through a collection of their portraits.
from the press release
"Visual Expressions 2010" Juried Art Show
Artist Reception and Award Ceremony
14th January 2010 - The Arts Council of The Temecula Valley would like to invite you to the Artists Reception and Award Ceremony for the "Visual Expressions 2010" juried art show. The exhibit is scheduled to run from January 22, 2010 to February 21, 2010.
The Show is chaired by Angela Morris, President of The Council and Sissi Hale. The very talented and lovely Mollie Kellogg juried the Visual Expressions 2010 entries. She was assisted by Lisa Bebi, another fascinating artist from San Diego.
Angela Morris said "We are so excited to say that our 'Call to Artists' had an amazing turnout of artists and art. We had over 200 pieces of fantastic work submitted by 56 artists". Sissi Hale said "I would like to personally commend all the artists who entered the show on their artistry and talent. The Council is so pleasantly surprised to see such an eclectic display of style and brilliance".
Morris also added "Our mission is to raise the profile of the arts in Temecula, and as part of this program we will be organizing a series of events, including juried shows, solo shows, group shows, contests, plein air field trips and other activities. The Visual Expressions show is just the start, we want to encourage local artists to gain wider exposure, especially new artists looking to break through."
The Council would like to thank the participating artists for making such long drives from all corners of Southern California. We have artists from Pasadena to El Cajon and so many cities in between. We would like to extend an open invitation to all artists, gallery owners, collectors, the press and members of our community to attend this special night for the arts in Temecula.
The juried competition includes categories in the following media: Oil, Acrylic, Watercolor, Mixed-Media, Collage, Pastels, Sculpture, Print and Photography.
Awards will be granted in each of the four categories, as follows: First Place: $200; Second Place: $100; Third Place: $50. Other awards are (1) Best of Show: $300, presented by Blick's Art Materials; (1) People's Choice: $50; (1) Historical Theme: $50 (Historical Theme showcasing the legacy of the Temecula Valley or the best depiction of historic Temecula, presented by Jim Moore). And 4 Honorable Mentions from the Jurors.
The Artist of Visual Expressions 2010 up for awards are:
Ana Guerra, Austin Casson, Becky Guttin, Betsy T Domanski, Beverly Sinclair Thordarson, Brandy Sebastian, Bronle Crosby, Carol Landry, Danae Wilson, Ellen Cramer, Gail Taylor, George Bamber, Gilberto Sanchez, Ingrid Wright, Jan Lee Lumkin, Janice Cipriani, Jeff Hebron, Jennifer Schichi, Jennifer G Spencer, John Chang, Kelly Fitzgerald, Linda Sowers, Nicole Toesca, Paul Samenfeld, Pierre Mainguene, Rich Stergulz, Richard Berbiar, Risa Gettler, Robert Nishimuta, Robert Willis, Ronald Ciamaga, Shant Beudjekian, Steve Lutzker, Tino Ferro, Vicki Gammell, Wendy Starling
Please join us for this magnificent event. You will have the chance to meet the artists, see 45 pieces of art, including pieces by the Jurors and enjoy the fantastic wines of Temecula.
We would like to thank our sponsors who made this event possible:
The City of Temecula, Musicians Workshop, Blick's Art Materials, Nimmo Construction, Lance Hale Allstate Agency and Rancho Dental.
Contact Details: For anyone wishing to get further information on the programs the Council is organizing or to be on our contact list, please email Sissi Hale at sissi@sissihalestudio.com or Angela Morris at angelamorris61@gmail.com
from the press release
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PUBLIC CULTURE in the Visual Sphere
Curated by John C. Welchman
In collaboration with VALS committee 2009-10 (Visual Arts Department lecture Series: Anya Gallacio, Teddy Cruz, Kyong Park, Suzanne Wright); the Public Culture gradate committee (Edward Sterrett, Orianna Cacchione, Cara Baldwin, Katrin Pesch, Sara Mameni, Tara Zepel), and Jordan Crandall.
Supported by the Visual Arts Department, UCSD; Dean of Arts and Humanities, UCSD; SoCCAS [Southern California Consortium of Art Schools] Collaborations with Art in the Public Sphere, USC Roski School of Fine Arts; English and Comparative Literature, UCLA; the graduate MFA program at Art Center College of Design, Pasadena; and the Athenaeum, La Jolla.
All events are at 6.30 on Thursdays in the Performance Space of the Visual Art Facility building (VAF), unless otherwise noted.
Jan 14 Pros and Cons: Graduate Research in Public Culture [panel]
pros* Issue Zero Launch
Nicole Holland [PhD candidate, Visual Arts] “Private as Public in the USSR”
David Mather [PhD candidate, Visual Arts] “Mass Forms, Mass Agency in the Early 20th Century”
Sheryl Oring [MFA candidate, Visual Arts] “I Wish to Say: Free Speech and Democracy”
David White [MFA candidate, Visual Arts] “'Network' as a Tool for Neighborhood Engagement"
Rayanne Tabet [MFA candidate, Visual Arts] "After the Flood: Reversing the Trans-Arabian Pipeline"
Cara Baldwin [PhD/Practice candidate, Visual Arts] “We are the ones we've been waiting for”
Moderated by Edward Sterrett [PhD candidate, Visual Arts]
by Richard Gleaves
Today MOCA announced it would name gallery owner Jeffrey Deitch as its new museum director.
Other candidates for the position were believed to include Sotheby’s auctioneer Tobias Meyer and art fair impresario Samuel Keller.
Los Angeles Museum Chooses Deitch
from the press release
PLASTIC FANTASTIC: Allison Renshaw
Oceanside Museum of Art
January 31 – June 20, 2010
Reception January 30, 5-7pm
OMA presents the first West Coast solo museum exhibition for San Diego artist Allison Renshaw.
from the press release
EVENT:
January exhibition titled, “Women by Women; Figurative and Conceptual Images of Women”
Featuring artwork by The San Diego Women’s Figurative Group
DATE & TIME:
Opening Reception: Saturday, January 16th, 6:00pm-9:00pm.
Exhibition runs from Jan 16 – Feb 14, 2010
LOCATION:
The San Diego Art Department (SDAD) is on Ray Street in North Park one block east of 30th, just south of University.
3830 Ray Street
San Diego, CA 92104
CONTACT: Andrea Chamberlain
619.299.4ART
www.sdad-sdai.org
SPECIAL FEATURE:
“This mixed media exhibition explores the contemporary vision of the Southern California woman. We ask ourselves the following questions: How do we see women differently than men see us? How does our specific Southern Californian culture and identity affect how we portray women? Can the erotic, the feminist, the feminine, and the working artist/woman be reconciled?”
ARTISTS:
Irene Abraham, Jocelyn Duke, Jeanne Dunn, Michele Guieu, Misty Hawkins, Daphne Hill, Maura McHugh, Amy Paul, Ginger Rosser, Therese Rossi, Anna Stump, and Marcella Villasenor
“The San Diego Women’s Figurative Group is a collective of women artists who share a common interest in new feminist figuration. We meet each month to critique work, see local exhibitions, and support each other in our careers as artists and educators. We work across a variety of medai: drawing, painting, mixed media, photography, sculpture, installation and new media.”
As a program of The San Diego Art Institute, The San Diego Art Department (SDAD) offers art classes, workshops, studio space for rent, and gallery space for monthly exhibitions.
MISSION STATEMENT: The mission of SDAD is to establish itself as a sacred place that encourages the creativity of artists of all ages and stimulates the ongoing flow of ideas and expression.
CLASSES: SDAD offers painting classes in oil, watercolor, acrylics, from portraits to still life, plein air to abstract. Also in the curriculum are classes in drawing, mosaics, stained glass, silk painting, and jewelry making.
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All events are at 6:30pm on Thursdays in the Performance Space of the Visual Art Facility building (VAF)
UCSD Campus, La Jolla
from the press release
Hello Everyone,
Things are progressing quickly with space4art and our first community build is coming up! We will be having another open house this Saturday from 12 to 4pm. The applications are coming in and people are beginning to reserve spaces. If you have not yet seen the space, want to see it again, or want to show a friend please come check it out. We want to give everyone a chance at an affordable studio.
325 15th Street
San Diego, CA 92101
Open House: Saturday, January 9 from 12 - 4pm
Thanks,
Chris Warr
Thanks for your participation!
sdspace4art
Sponsored by Synergy Art Foundation
www.synergyart.org
sdspace4art@gmail.com
www.facebook.com/sdspace4art
"Lucy, Darwin and Me” An installation by Michele Guieu at Art Produce Gallery
Artist Talk: Saturday, January 9th from 6:30 - 8:00pm
ART Produce Gallery
www.artproducegallery.com
3139 University Avenue
San Diego, CA 92104
619.584.4448
Read the review of the exhibition by Keli Dailey (SignOnSanDiego) here.
by Robert Matheny
by Richard Gleaves
The future of art publications? There's an app for that.
Specifically, one that integrates the following information in a single pocketable interface:
Currently such apps are available only on the iPhone, which remains cost-prohibitive for many people. This, however, will change as smartphones with app stores quickly become the norm for all mobile phones and service plans.
At that point, once the costs have come down, this sort of app will be the art publication, on the strength of its ability to provide everything one needs to go out and look at art.
by Hervé Crespel
Tous mes Vœux de Santé, Bonheur et Réussite
by Richard Gleaves
Fringe Theories (at Agitprop through January 9) is billed as "the work of five artists and scholars that thrive outside of traditional and accepted rules and boundaries."
What's most striking about the show as a whole is not its fringiness but rather an odd formal emphasis on oldness: old newsprint, old photos, old paintings, old sculpture. The work itself is recent, but — with the exception of Keith Engeron's modest deployment of corporate logos and Tony Allard's use of layered space — otherwise avoids the look and feel of contemporary art.
It's interesting to contemplate just why this is.
My first thought was that the curator (Katherine Sweetman) was asserting the notion of fringe theories as a historical phenomenon: a plausible hypothesis given how the 1960's engendered greater cultural weirdness (spoon bending, pyramid power, Kirlian auras) than we experience today, while in times pre-60's the absence of science-based consumer protection laws enabled entire socioeconomic classes of theory-pitching charlatans and mountebanks (Pirelli in Sweeney Todd).
A brief conversation with the curator dispelled this hypothesis: it turns out she wasn't aware of the thread of antiquity running through the show. But the thread was still there, and in need of explanation.
My second thought fit better: namely, that the curator was subconsciously mapping the notion of "fringe" to outsider art — though the artists themselves were not necessarily "outsider" — and that in doing so the formal baggage of outsider art was serving as a de facto constraint on the work selected for the show. Hence the virtual lack of contemporaneity, and the focus on traditional forms.
And what, pray tell, is the formal baggage of outsider art? Simple: the esthetic engine driving outsider art is the pairing of traditional form with eccentric content. The work must be recognizable as drawing or painting or sculpture. Only savvy professionals with insider credentials can adopt forms such as digging holes in the floor or cooking in the gallery — if an institutionalized schizophrenic were to try this, they'd get solitary, not a retrospective.
A few additional thoughts:
