How to describe artist Ian Cheng’s current exhibit at MoMA PS 1, a Brooklyn-based branch of the world-famous Museum of Modern Art in New York City? Imagine a projection on the wall, as wide as a tractor trailer, depicting chaos … with a story.
The title of this real-time simulation is Emissary Sunsets the Self, the third of three pieces being exhibited on the third floor of this former school. Each piece depicts an epoch in the life of a civilization: an ancient community faced with destruction; an artificial intelligence examining the fall of human life; an atoll that somehow develops sentience. Each larger-than-life piece develops in real time from a computer program Cheng has written.
In Cheng’s simulated universe, every character has its prescribed behaviors—trees sway, rocks roll, dogs walk around, a human keeps a fire stoked. As the characters interact with each other, the program moves in directions that not even Cheng can predict. (more, via California Magazine)
Although we live in the supposed land of freedom and liberty, it is difficult in the current political climate to ignore the overarching systems of authority that guide many of the decisions we are allowed make, the social norms to which we are pushed to conform and the way our world is constructed by those in power.
The Worth Ryder Art Gallery’s newest exhibit, “Authority,” seeks to explore this loaded theme by addressing how the many permutations of authority manifest in the lives of individuals and highlighting why it’s so important to bring these issues to light.
In an interview with The Daily Californian, curator Farley Gwazda explained that this theme primarily sprouted from the concerns of the art students, who comprise a fairly politically engaged group. He found additional inspiration in a study he had read, which found a correlation between being a Trump supporter and displaying an attitude of authoritarianism — an issue that Gwazda felt wasn’t really being spoken about. So he, along with three student curators — Rob Borsdorf, Jessica Doojphibulpol (who is an illustrator for The Daily Californian) and Katherine Lo — put this exhibit together in an effort to address the problematic nature of authority and also to give a platform to students whose voices may not always get the opportunity to be heard. (more)
Each year, BAMPFA and the University of California, Berkeley Department of Art Practice work together to present an exhibition of works by Berkeley MFA graduates. This year’s graduates are Takming Chuang, Lucas DeGiulio, Behnaz Khaleghi, Shari Paladino, Jovi Schnell, and Andrew Wilson. Be among the first to encounter the recent work of these six exceptional artists.
The 47th Annual University of California, Berkeley Master of Fine Arts Graduate Exhibition is organized by Curatorial Assistant Matthew Coleman and Assistant Curator Stephanie Cannizzo. The annual MFA exhibition is made possible by the Barbara Berelson Wiltsek Endowment.
About the Eisner Award: The Will Eisner Comic Industry Awards, commonly shortened to the Eisner Awards, are prizes given for creative achievement in American comic books, sometimes referred to as the Comics Industry’s equivalent of the Oscar Awards.They are named in honor of the pioneering writer and artist Will Eisner, who was a regular participant in the award ceremony until his death in 2005. The Eisner Awards include the Comic Industry’s Hall of Fame. (From Wikipedia)
The Department of Art Practice is pleased to announce that our 2017 Commencement Speaker will be Bay Area artist Mildred Howard. Commencement will be on Monday, May 15th at Hertz Hall .
Mildred Howard, “Laila Ali”, 2010. Mixed Media Assemblage, 56″ x 22″ x 14″. Courtesy Anglim Gilbert Gallery.
Known for her sculptural installations and mixed media assemblage work, Mildred Howard has been the recipient of numerous awards, including the Adeline Kent Award from the San Francisco Art Institute, the Joan Mitchell Foundation and a fellowship from the California Arts Council. Her work has been exhibited internationally including recent shows in Berlin, Cairo, and Bath, England. Large scale installations have been mounted at the Richmond Art Center, Creative Time in New York, in SITE San Diego, the National Museum of Women in the Arts, and the New Museum in New York. Public commissions and installations were executed for the Museum of Glass in Tacoma, Washington, the City of Oakland, the San Francisco Arts Commission and International Airport, and the San Jose Museum of Art.
Immigrant, exile, refugee, traveler, stranger: these are the figures that define our time. They are alternately the fantasy and the nightmare of globalization—neoliberalism dreams of a “flat earth,” a world system where laboring bodies travel across borders as easily as capital, while populism fears those same bodies as dangerous, even deadly, parasitical drains on local economies and civil society. What these seemingly opposing narratives share is a determination to erase historical and material realities that motivate such mobility: the wars, economic crises, imperialisms and colonialisms, the violences and disparities that make displacement necessary and impossible, full of friction, driven by a basic instinct for survival.
A two-artist show at Talwar Gallery takes on the problem of the peripatetic body in relation to xenophobia, isolationism, and racism in the UK, but from two markedly different vantages. Allan deSouza’s Through the Black Country imagines Brexit via the form of the nineteenth-century traveler’s account, using a series of wall texts, maps, and images, while Alia Syed turns to video to convey the experience of a Sudanese refugee caught in the limbo of statelessness. The show opened on January 13 in New York—after the defeat of Hillary Clinton, which represented, among other things, a serious blow to open borders and free-trade zones like the Trans-Pacific Partnership, but before Trump’s executive order banning travel from certain Muslim-majority countries and his aggressive interpretation of deportation rules, among other anti-immigrant measures. In the aftermath of these events, the show has become pointedly relevant.
"Greg Niemeyer has been the head of the New Media Center at Berkeley University in the United States and has taught this subject
since the beginning of his career. A graduate of classical arts and photography in 1997 in Stanford, he offers a
transdisciplinary analysis of the interactions between human and technology. In an interview, he looks back over twenty years of
in-depth transformations of the education sector and sheds light on the challenges of tomorrow's world of work."
ART N163 – Social Practice: Critical Site and Context
The renowned Cuban artist, Tania Bruguera, will focus on her concept of ARTE UTIL,, translating loosely as “useful art”, and suggesting that art can be a tool or device.
Enrollment requires familiarity with the ARTE UTILarchive and lexicon, as well as submitting a statement of 250-400 words explaining what social issues interest you, and how you think aesthetics can disrupt institutional structures. Send to: firstname.lastname@example.org
SESSION C: June 19 – August 11
MWTh – 4pm – 8pm (Friday is optional critique/studio time)
Allan deSouza, chair of UC Berkeley’s Department of Art Practice, presents an exhibition that reenacts and upends the traditional colonial relationship, positioning modern-day England as the object of investigation by an explorer from Africa. (more…)