The noon lecture series this year features five amazing painters:
Monday, Feb 26
12-1pm, Kroeber 285
Mimi Lauter uses soft and oil pastel in painterly works on paper that linger between abstraction and representation; they are at once both and neither. Here representation is a guide to experiencing something indefinable, and abstraction is employed as a method of representing something unseeable. This conflicting relationship is one of many contained within artworks that are at once universal and specific; mythic and personal; painting and drawing. Hints of still life, landscape, and other familiar forms appear and then recede into baths of color and the subconscious, allowing each viewer an opportunity for a unique understanding and translation.
Mimi Lauter (b. 1982) lives and works in Los Angeles, CA. Upon graduating with her Master’s Degree from the University of California, Irvine in 2010, she immediately began presenting solo exhibitions at Marc Selwyn Fine Arts in Los Angeles and Shane Campbell Gallery in Chicago. In 2018 she will mount solo exhibitions at Blum and Poe in Los Angeles, Derek Eller Gallery in New York, and Shane Campbell Gallery in Chicago. Her work has been included in exhibitions at Carnegie Art Museum, Oxnard, CA, The Hammer Museum, Los Angeles, CA, Tif Sigfrids, Los Angeles, CA and Federica Schiavo Gallery, Rome, Italy. Her work is featured in the public collections of The Hammer Museum, Los Angeles; The Los Angeles County Museum of Art, Los Angeles; and the Maurice and Paul Marciano Art Foundation, Los Angeles.
Tuesday, Feb 27
12-1pm, Kroeber 285
Hovering somewhere between collage and painting, my practice involves a rigorous investigation of color, form, and movement. I consider the use of excavation, the replacement of one material for another, inlaying, collecting and recycling to be the foundation of my work. Motif dynamics become complicated by shearing away sections and filling the resulting holes with cut shapes that don’t quite fit. These additions and subtractions ‘equalize’ the picture plane by creating situations in which a form can be both figure and ground. Formal, personal and social politics set the rules for my studio based practice. These ‘painted constructions’ are assembled from cut paper, canvas, cardboard, paint, tape and glue. The residues of my working methods, from the paper cutouts amassed in organized piles to the heavy watercolor paper lining the floor of my studio are given equal value and saved to be reinserted into future works. This ‘floor’ paper sits within the piece, Untitled (flr.ppr.blk.dmnds.) 2015, among others. The paper’s surface holds at least five years of stains, drips, spray painted marks, brush marks, footprints, and dirt. It, like many of the materials I use, holds an inherent history of ‘older work’. In this sense, there is a continual stream of potentiality among every element in my practice.
Lecia Dole-Recio received her BFA at Rhode Island School of Design (1994) and her MFA at Art Center College of Design, Pasadena (2001). She has had solo exhibitions at Gavlak Gallery, Los Angeles (2016), The Secession, Vienna (2011), Richard Telles Fine Art, Los Angeles (2011, 2009, 2005, 2004, 2002); Casey Kaplan, NY (2009), the Museum of Contemporary Art, Los Angeles (2006); and the Galerie Stephan Adamski, Aachen (2004). Lecia has had work shown extensively in group exhibitions throughout the US and also in Europe, including the Whitney Biennial (2004). Her work is in the collections of the Museum of Contemporary Art, Los Angeles; The Walker Art Center in Minneapolis; The Hammer Museum, Los Angeles and the Los Angeles County Museum of Art.
Monday, March 5
12-1pm, Kroeber 285
Kenyatta A.C. Hinckle
Kenyatta A.C. Hinkle is an interdisciplinary visual artist, writer and performer. Her practice fluctuates between collaborations and participatory projects with alternative gallery spaces within various communities to projects that are intimate and based upon her private experiences in relationship to historical events and contexts. A term that has become a mantra for her practice is the “Historical Present,” as she examines the residue of history and how it affects our contemporary world perspective. Her artwork and experimental writing has been exhibited and performed at The Studio Museum in Harlem, Project Row Houses, The Hammer Museum, The Museum of Art at The University of New Hampshire, The Museum of the African Diaspora (MoAD) in San Francisco, The Made in LA 2012 Biennial and The BALTIC Centre for Contemporary Art, Newcastle upon Tyne, UK. Hinkle’s work has been reviewed by the Los Angeles Times, LA Weekly, Artforum, Hyperallergic, The Huffington Post, The Washington Post and The New York Times. She is also the recipient of several awards including: The Cultural Center for Innovation’s Investing in Artists Grant, Social Practice in Art (SPart-LA), Jacob K Javits Fellowship for Graduate Study, The Fulbright Student Fellowship, and The Rema Hort Mann Foundation Emerging Artists Award. Her writing has appeared in Not That But This, Obsidian Journal, Among Margins: Critical & Lyrical Writing on Aesthetics, and she has a forthcoming first book called SIR, a reflection on naming as a tool for undefining the defined, that will be published with Litmus Press. Hinkle’s exhibition focused on the erasure of black women historically and presently The Retrieval is on view at The San Francisco Arts Commission February 16th- April 7, 2018.
Tuesday, March 6
12-1pm, Kroeber 285
“My work functions both as homages and posthumous collaborations between me and my late father. I am interested in the idea of fostering a collaboration, without my father knowingly doing so. The inception of these works came about due to prior plans to collaborate with him two years before his death. Our intentions were to better understand each other’s professions (he was a watersports instructor specializing in parasailing and me, a multimedia visual artist), with the deeper interest in using both of our practices to metaphorically connect with my deceased mother. My work harnesses a broad range of visual references, drawing equally from literature, folk religious practices, folk celebratory practices, mythology, and the history of statues and memorials.”
Munroe earned a BFA from Savannah College of Art and Design (2007). In 2010, He represented the Bahamas at the Liverpool Biennale. He earn a MFA from Washington University in St. Louis (2013), which was immediately followed by tenure at Skowhegan School of Painting and Sculpture (2013). He was awarded a Joan Mitchell Foundation Painting and Sculpture Grant (2013). In 2014, Munroe was awarded a Postdoctoral Fellowship at the University of North Carolina at Chapel Hill, where he was later recognized with the Postdoctoral Award of Research Excellence (2015). In 2015, he exhibited in the 56th Venice Biennale, curated by Okwui Enwezor. He then participated in the 12th Dakar biennale (2016), curated by Simon N’jami. Munroe was the recipient of the Josef and Anni Albers Foundation: THREAD Senegal residency (2017). He was selected for Prospect New Orleans 4 (triennial) curated by Trevor Schoonmaker. Munroe is the recipient of the Distinguished Alumni Award from Sam Fox School of Art and Design at Washington University in St. Louis (2017-18) and is currently an artist in residence at Headlands (2018).
Munroe’s work has been exhibited in institutions such as The Mildred Lane Kemper Art Museum, the Orlando Museum of Art, the National Art Gallery of the Bahamas, the Nasher Museum of Art, the Contemporary Art Museum of Raleigh, the SCAD Museum of Art, Museum of Contemporary African Diasporan Arts (MoCADA) and upcoming at the Museo Nazionale delle Arti del XXI Secolo (MAXXI), and The Meadows Museum, among others.
Thursday, March 8
12-1pm, Kroeber 285
Employing a fattened style and often working with loose isometric compositions, Pugay’s bright blocky colors and simplified forms and figures illustrate scenes that at first appear approachable and playful, but gradually reveal darker, more complex truths. Vibrant colors and repeating patterns in grass, jail cell bars, rippling of water, or delivery ward incubators, fill his canvases with a spark of liveliness and an often vibratory quality. All the while, he digs into surprisingly abject and existential territory, including themes of hunger, ecology, politics, and fear. This combination produces incongruous and unsettling results. He creates tangential narratives to current events, highlighting the vulnerabilities and anxieties of humanity, and what Pugay calls the “mishaps of the everyday.” Philosophical inquiries into such areas as identity, politics, technology, mysticism, paradox, constructions of morality, and meta-narratives are the wellspring that feeds his unexpected allegorical collisions.
Ralph Pugay holds an MFA in Contemporary Art Practice from Portland State University and is a residency graduate of the Skowhegan School of Painting and Sculpture in Maine. Notable solo exhibitions were held at the Seattle Art Museum, Upfor, Vox Populi, and FAB Gallery (Richmond, VA), among others. Group exhibitions featuring Pugay’s work include the Portland2014 Biennial and the 2012 CoCA exhibition in Seattle. In 2016, Pugay collaborated with Ariana Jacob to create S.A.D Park: The World’s First Seasonal Affective Disorder Park in Portland OR. Formerly a visiting faculty member at Virginia Commonwealth University, he was recently appointed the James DePriest Visiting Professor of Art at Portland State University. Pugay’s honors include a Betty Bowen Award from the Seattle Art Museum, an Oregon Arts Commission Fellowship, and a Joan Mitchell Foundation Painters and Sculptors Award. Pugay was recently awarded a Ford Family Foundation Fellowship to attend the Rauschenberg Residency at Captiva Island in 2018.