New grants from the Hewlett 50 Arts Commissions will support two ambitious musical projects involving artists at UC Berkeley.
With one grant, UC Berkeley art practice associate professor Greg Niemeyer, DJ Spooky and the Internet Archive will collaborate on an 11-movement multimedia production for a string quartet, vocalist and original electronic instruments about the origins of the Internet and what needs to happen to keep it accessible, neutral, and free.
Niemeyer said he is creating an open source Sonic Web instrument, a large touchscreen with a software tool to draw network diagrams enabling DJ Spooky, the performance name of Paul D. Miller, to explore what networks sound like and to layer sounds with vocals as well as string and sampled sounds.
Assistant Professor – Painting – Department of Art Practice
Department of Art Practice, UNIVERSITY OF CALIFORNIA AT BERKELEY
The Department of Art Practice invites applications for a tenure-track professorship position in painting. We are seeking artists with a clear commitment to equity and inclusion within the faculty and the student population of a world-renowned university. The successful hire will lead the painting area, oversee development of the resources and physical infrastructure of the studio classrooms, teach undergraduate and graduate students, and will have the opportunity to create their own courses, including ones that incorporate other media into painting.
The successful candidate will have a substantial exhibition practice engaged primarily with painting. They will possess a strong working knowledge of painting history, an ability to articulate contemporary theory and current debates on art, and a broad command of the technical skills necessary for contemporary image-making. The position requires in-depth knowledge of painting techniques, and a working knowledge of other image-making processes, such as printmaking, photography, and/or digital media. The candidate will be responsible for designing and teaching introductory and advanced undergraduate courses, as well as for guiding graduate student work and serving on MFA thesis committees.
MFA by the time of application, with an emphasis in Painting, or equivalent degree.
Additional Qualifications (by the start date):
Demonstrated expertise in the history and current practices in fields of painting and related image-making.
Distinction as an artist working primarily in painting.
Proven exhibition record or a demonstrated history showing great potential for active exhibition. Ability to teach both studio and seminar courses.
At least 3 years’ experience teaching at the postsecondary level and a strong commitment to undergraduate teaching, graduate supervision, and administrative service.
Applications must include the following:
Cover Letter: Explain your interest in UC Berkeley.
Curriculum vitae: Your most recently updated C.V.
Statement of Teaching philosophy, including a description of your strengths, both technical and theoretical.
20 images of Artist Work: Own work. Please upload each image separately.
Names and contact information (mailing address, email address and phone number) of three professional references. (Letters of recommendation will only be solicited for short-listed candidates). All letters will be treated as confidential per University of California policy and California state law. Please refer potential referees, including when letters are provided via a dossier service or career center, to the UC Berkeley statement of confidentiality (http://apo.berkeley.edu/evalltr.html) prior to submitting their letters.
The University is responsive to the family needs of faculty, including dual career couples and single parents. For information about family friendly resources, potential relocation to Berkeley, or career needs of accompanying partners and spouses, please visit: http://ofew.berkeley.edu/new-faculty.
The University of California is an Equal Opportunity/Affirmative Action Employer. All qualified applicants will receive consideration for employment without regard to race, color, religion, sex, sexual orientation, gender identity, national origin, disability, age or protected veteran status. For the complete University of California nondiscrimination and affirmative action policy see: http://policy.ucop.edu/doc/4000376/NondiscrimAffirmAct
Michael Ned Holte is a writer, independent curator, and educator based in Los Angeles.He has organized numerous exhibitions including “TL;DR” at Artspace in Auckland, New Zealand; “And Per Se And” at Commonwealth & Council, Los Angeles; “Support Group” at Cottage Home, Los Angeles; and, with Connie Butler, the 2014 edition of the “Made in L.A.” biennial at the Hammer Museum. In 2016, he organized the exhibition “Routine Pleasures” at the MAK Center for Art and Architecture at the Schindler House, Los Angeles, and edited a companion book of the same title. A frequent contributor to Artforum, his texts on art and culture have also appeared in Afterall, Art Journal, The Brooklyn Rail, East of Borneo, Pin-Up, and X-Tra. Holte has been Co-Director of the Program in Art at CalArts since 2014. Previously he taught at the University of Southern California and has been a member of the visiting faculty at the Core Program at the Glassell School of Art at the Museum of Fine Arts, Houston, and at the escuela incierta (uncertain school) in Cali, Colombia.
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.