The exhibition addresses the origins of Tool’s investigation of war iconography through the exhibition of the artist’s ceramics, video work, graphic prints, ephemera, as well as works done in collaboration with photographer Ian Martin. Aiming to foster public conversation about the relationship between mainstream culture and military culture in the United States, Meditation on the Impacts of War invites public exchange on a subject which affects contemporary global society and which pervades modern culture. From toys and video games to multimillion dollar movie productions and advertising, the grim reality of war has been adopted for entertainment. For more information, please go to Cranium Corporation.
Robert Hartman, “The Ordered World”, 2011. Colored Infrared Aerial Photography. Courtesy Gallery Anglim Gilbert.
Artist, teacher, pilot. Husband, father, grandfather, friend.
Always “incurably nuts about airplanes,” he first soloed after only 3 1/4 hours of instruction, and earned his license at the age of 21. A consummate pilot, and aerial photographer, his passengers were always in capable hands even as the horizon tilted towards vertical and Bob, controlling the plane with his feet and knees, pointed his camera straight down, through the open side window, capturing exquisite and perplexing images of the ground below.
For thirty years, Bob was a perceptive and inspiring professor of art at UC Berkeley. He retired in 1991, but remained close friends with many students and colleagues, and delighted in viewing latest works, discussing art or simply sharing one of his carefully crafted martinis.
Although he was trained in academic realist painting, Bob became excited by the dynamic energy of abstract expressionism, and the realization that a painting could be an ongoing event instead of a static tableau of things. However, his continuing desire to get back to flying soon led him to painting “skyscapes.” In 1970 he bought a plane and his painting shifted from looking up with longing, to looking down with wonder. Bob found that photography was the best medium for him to share that sense of wonder and discovery.
He had a painter’s eyes, a musician’s ears and a poet’s heart. All were active until the uncelebrated lungs finally failed. Left behind are beautiful images exploring the enigmatic and mysterious, and expressing the ineffable.
Bob felt he had lived an inordinately lucky life: lucky in surviving early and continuing lung problems, lucky in his escape from living and teaching in the racially segregated Texas of the 1950s, lucky in his career at UC Berkeley, and particularly lucky in wife, family, and friends.
Bob gives his friends and family a full life to celebrate, and a generous spirit to miss.
Bob’s “one and only love” and wife for 61 years, Charlotte, died in 2012. He is survived by his brother, Jim, two sons, Mark and Jim, their wives, four grandchildren, and many friends. We happy few count ourselves lucky to have known Bob.
A memorial celebration will coincide with a retrospective of his work planned for late February or early March.
In lieu of flowers, go to a symphony concert, or donate to Creative Growth.
On final flight into the wild blue yonder, flight plan not filed.
Published in San Francisco Chronicle from Dec. 11 to Dec. 13, 2015
Concept video by Jillian Meyers and Damian (by Julia Borrebaeck)
Please introduce yourself and tell me what you enjoy most about your art?
I am a California based sculptor and installation artist. I enjoy exploring new, recycled, and industrial materials for my textile sculptures and installations. I search for formable materials that I experiment with to determine their characteristics. These materials in part give me inspiration for my concepts. I discovery whole new concepts, when I collaborate with my materials.
What were the strongest inspirations for the ideas and materials of your most recent work on your senior thesis exhibition?
The theme for my project is a memorial monumental sculpture, to honor the victims of ‘The May 18, 1980 Gwangju Democratic Movement’ in South Korea. Most victims of the massacre were young students and workers. A memorial idea came to me when I heard the news about the global action for the massacre in Ayotzinapa, Mexico.
On September 26, 2014, 43 male students from the Ayotzinapa Rural Teachers’ College held a protest about the discriminatory hiring and funding practices of the Mexican government. The student-teachers also had plans to solicit transportation costs, for their trip to Mexico City for the anniversary march of the 1968 student massacre in Tlatelolco. However, on their way there, the students were intercepted by the municipal police force and all protesters went missing and all were presumed dead. The massacre sparked protests worldwide. When I heard the news, it broke my heart. The students were around 20 years’ old. They were young visionary activists who could have helped change Mexico’s future. By memorializing this sadly similar Korean incident, I wanted young people to remember, yet still believe that they have the power to change their countries future. I also want to tell them, do not be afraid of telling the truth because if we do not fight the false, it becomes true.
The material for this project is commercial PVC black mesh. The unified upward forms and black obscured mesh represents the courageous spirits of the victims that follows their inner faith.
What were some of the best learning experiences during the Senior Thesis Project class?Some of the best moments of the Senior Project Class were during the critique of my senior project, by my classmates and our teacher. This great feedback persuaded me to challenge myself to see my work from their varying perspectives. These challenges improved my work, making my structure stronger which allowed me to deliver my ideas more effectively. And additionally when I participated in my peers’ presentations which helped me develop a more critical view towards my own work.
Interview with Sosun Park (by Hyesun Kim)
Re-Collection, Sosun Park
Mixed Media (Asian papers, twigs) with acrylic on wood panel. 4’x4’, 2015.
What initiated the thought process and overall idea behind this particular work? What does the concept of ‘identity’ mean to you?
I’ve reached my identity since studying abroad in the U.S. One day, I met friends who were members of EGO( UC Berkeley Korean Traditional Percussion Group) and I went to their performance. When I saw their performance, I had really weird complex emotions that I felt happiness, sadness, anger at the same time because many young Korean people don’t appreciate their own culture of art. And I was the one who didn’t appreciate Korean traditional culture before. Since then, I started the series of Korean traditional colors wanted to represent Korean cultural spirit as I felt from Korean traditional music. For the last semester, I wanted to challenge myself and develop my ideas of Korean traditional colors. So, I decided to find new media that I have never used such as Asian rice paper and twigs. I am still figuring out my identity… but I would say that the concept of identity means awareness of appreciating the beauty of my traditional culture.
I know that you performed with traditional Korean instruments during the opening reception of “Prototype”. What is the significance of the performance with your work?
As I said above, my work, Re-collection, is inspired by Korean traditional colors. But the first inspiration of my Korean traditional colors series is Korean traditional music, Pungmul. I believe that performing Korean drumming in front of my work could depict my theme perfectly. I hope audiences felt the the strong Korean cultural spirit that I have felt while playing Korean traditional music.
Does the choice of medium have any significance? What about the colors used?
The works in my recent series combine Korean traditional colors and modern media to represent the beauty of the Korean cultural spirit. The traditional Korean colors are Blue, Red, Yellow, White, Black. Each of these five colors represent the different seasons of the year and also the different cardinal directions on the compass. My style uses complex patterns with abstract lines on the canvas. I tried to create abstract works with painted materials. The combination of traditional Korean acrylic colors and new media such as Asian papers and twigs depict Korean pride and the traditional Korean cultural spirit against the struggle of globalization. This contrast of the traditional with the new represents the important and at times impossible struggle to preserve traditional culture.
love.watts (by Julia Borrebaeck)
Jordan “Watts” Watson has commercialized art by posting it on his snapchat and instagram. In a way, he has participated in the movement of making museums obsolete in reaching art. Although not as nice an experience as going to an art museum, he has made art easy to access for a bigger part of the population and furthermore, it is free. On his snapchat account he posts videos of pieces from many different modern art exhibitions with up-and-coming artists. He zooms in so you can truly see a close up of the work and the lines of their brushstrokes. He is currently at 340k followers and ever since he built this large base, hundreds of artist send him photos of their work where he can choose from what he would like to promote. After promoting a certain artist on one of his mediums, they can instantly see how their sales go up.
I would encourage you all to follow him @love.watts on instagram, snapchat, tumblr, pinterest and probably any other social media site. Here are some photos from his accounts.
Interview with Professor Indira M. Morre (by Sosun Park)
What work do you most enjoying doing?
I love “behind the scene” work; it’s the research, reading, strategizing, testing, prototyping, and failure that excites me equally as working on an intended artwork.
How do you define success and failure?
In art there is no one answer to this question. Every artist has their own measure of success and failure. For me, being able to make art is a success in itself. I truly believe that art shapes us into better versions of ourselves. And teaching art is a big part of it. Making, thinking, looking, writing, promoting art is a profoundly generous cultural activity and I feel deeply satisfied to be a citizen of the art world. Failure would be abandoning this part of my being.
What’s the best comment you’ve been given from your recent work at Worth Ryder?
I was most pleased to hear from number of people that they never realized how insistent, pervasive, and predatory banks are. The survival of financial institutions depends on our inability to pay off our debts. Calling attention to their insincere lure is a way of gaining more power in our financial decision making.
Interview with Farley Gwazda regarding the Senior Exhibition (by Hyesun Kim)
- I understand that this will be the first annual Senior Thesis exhibit. Can you provide a brief explanation/description of what the Senior Thesis Exhibition is?
2. How is this show unique amidst the other shows?
3. What are the main reasons for the department curriculum change?
4. In what ways will the students, faculty, and spectators benefit from such changes in program/exhibit?
I answered your questions out of order in one go:
The Senior Thesis Show has its origins in a show the department had been doing for a long time called the Senior Show, which always occurred right before graduation. It was a huge show – as many as 50 students (!), and was only up for three days! It was a fun event, but didn’t feel like a fully realized exhibition, and for some students this was their only opportunity to show in the gallery.
I’ve always felt that the experience of showing your work in the gallery context is an important part of a well rounded art education, and an essential element in the life cycle of art. There is a set of concerns you have to address when preparing your work for public display that are quite different from those of the studio or classroom experience. And, of course, artists benefit enormously from the feedback they receive from the public and other artists.
Therefore, last spring the faculty decided that each senior will participate in a Senior Thesis Show, and that this will be structured so that each student will show during whichever semester that they take Senior Projects, which is required for all majors.
The artists are expected to create a fully realized project in any medium, using any process, any concept that they find interesting or important. While assignments are a useful part of art courses, perhaps the most interesting part of any artwork is the fact that the artist is declaring to their audience that what they are doing is worth considering. At first glance, this open-ended task seems a deceptively easy – basically you can do anything you want! But the old adage “with great freedom comes great responsibility” definitely applies here. Artists need to answer questions like “What is important to me?” “Who am I?” “What is my voice?”. Plus it’s a ton of work! I have the deepest respect for our student artists for taking these on, and am really excited about the work that I’ve seen so far!
Additionally, the department hopes that this show will not only benefit the participants, but will impact the culture of the department (and beyond). This forum gives student artists an opportunity to speak to one another, to form a set of community concerns, and to have a critical conversation. To my mind, this is what art is really all about. You don’t make art to get an “A” – you make art to transmogrify the universe. And that’s no cakewalk!
I hope that all of our majors will show up to the exhibition, take a deep look at the work, and think about what they will do when it’s their turn!
EPIC FAIL: Excerpts from the Art Talk (by Taylor R. McAllister)
Farley Gwazda: Welcome to exhibition artist’s talks. My names is Farley Gwazda; I’m the director of the [Worth Ryder] Gallery and it’s great to see such a big crowd in here. This is an annual event and I think it is a great opportunity for students to hear the faculty speak about their work. All of our faculty are practicing artists and have really interesting practices. A lot of the time in class you don’t really get to know what your teacher does as an artists. So this is why the faculty exhibition is always so exciting for me, and I think the faculty members as well….So as you know the theme of the show this year is EPIC FAIL. Every year I’m asked to choose a theme for the faculty show and of course, there are so many different artists doing different things. So it’s difficult for me to choose a theme that engages everyone’s practice. So my thoughts about EPIC FAIL are that essentially, failure is an interesting part of all artists practice. Now we don’t often frame it as failure, but what I’m saying is that when you’re creating work, often it’s the things that you try to do that don’t quite succeed the way that you are trying to do them, that instead work out some other way, that make being an artist so interesting. If you could just envision your project and then realize it, it wouldn’t have the kind of nuances that makes art practice exciting. So all of the artists here have something to say about this topic and the way that we are going to structure today is that we are going to walk around from piece to piece…and the artist will say a few words about their piece, and then take some quick questions from you. We only have about five minutes apiece….so I thought that since we’re standing here looking at your piece Craig. (Crowd laughs)
Craig Nagasawa: Twenty one years of going first. (Chatter and laughter)
FG: So, I’d like to introduce Craig Nagasawa. (Applause)
CN: Any questions? (Laughter and applause) Okay. First off, I’m going to go really fast. I’ll go really fast. Here, I need my props though. (Puts on Japanese sun hat) I’ll wear this.
Look, here’s the questions you always get when you make something. “What is your piece about?” Is it about failure? I don’t know. Okay. So, you could say it’s about—I can’t talk with this on. (Takes off hat) you could say it’s about how I grew up. You could say it’s about Asian American ethnicity. You could rhetorically go through the whole line of stuff that art’s supposed to be about: entrepreneurship of small businesses, dislocation of minorities, you know on and on and on. But, is that really what it’s about. I don’t think so. Alright. So, there’s all of this stuff in there that has ques that I work on all the time. But it’s not literally about that stuff, right? I think the piece is about a kind of experience and I can only do it through a kind of analogy. So, if you’re—nobody in California know about this, probably—if you’ve ever driven in the dark in a really bad snow storm, your headlights hit the snow and there’s this really weird hypnotic thing where you’re driving down the road and you can’t really see what you’re doing. But it’s beautiful because all this stuff’s coming at you on your windshield but at the same time you have to sort of stubbornly stay on the road. Right. So you’re doing two things at once and if you’ve ever noticed when you’re in the mountains there’s these things on the side of the road that have reflectors on them. They’re about six feet high. The reason for those is so that you know if you’re going off the road or not. Right? …You can see those things, so if you start clipping those things, you’re about to go off the road and you should turn back in. So, I think that if a situation like this is that I give you all of the little reflectors. Those are the little reflectors that keep you from going off the road and it’s up to you to decide whether you’re going to stay on the road or slide off the road and crash. It’s not really my story anymore. It’s your story and you’re experiencing—so I can only just provide those little reflectors and then it’s up to you to decide how you’re going to interface the piece. Stay on the road or slide off. Pretty simple. That’s all. Questions? (Laughter)
FG: Let’s see if we can stump Craig. Who’s got a question for Craig?
Guest 1: When you started the installation, what piece or object did you start with first?
CN: A grain of rice. (Laughter)
I make these things all the time. Constantly making little things that never really get shown, so they’re just part of the practice of finding out about things. And that’s how it started. I just had all of these—I thought I’d just put a grid of paintings but you know, one things leads to the next and then it’s too late.
Guest 2: How do you make all your own pigments? How long does it take you to make the pigments that are your colors?
CN: Well, I have a sort of secondary prison structured yard where I employ all these people to break rocks. (Laughter) And they get community service for it. So. Nah. It, it takes what it takes. I mean it doesn’t take that long. I just use a hammer and break a whole bunch of rocks and then turn it into pigment. Once I have a storehouse of pigment you know, it lasts for quite a while. So it’s not like every day I have to break rocks. (Laughter) I get a rest every once and awhile. Does that answer your question?
Guest 2: More or less.
CN: Doesn’t take very long. Not as long as you’d think.
Anyone else? That’s a big crowd. Kevin.
Guest 3: I was wondering, did you touch on the autobiographical and how it surfaces as your history and as a public gesture?
CN: Well. Everything is kind of biographical, right? In a certain sense. You could divorce your experience from your work but it’s fairly inundated—for me it’s fairly inundated. In other words, my experience is really the only thing I have that seem kind of solid. But, experience is also subjective and made up of a whole bunch of different kind of chronological snapshots of things…I’m interested in the seams of how those things kind of jar against each other. Right. You can’t read it seamlessly. You read it in pieces and all those pieces add up to the reflectors I was talking about—about not sliding off the road. So. That’s just my methodology of putting them together. And yes, I mean I have a whole—everybody has their story and it’s all embedded in there. But, really I’m not trying to like make you believe my story. I’m just trying to let you come up here and have your own experience in relationship to the parameters of what’s been set up.
And obviously I can go on and on about my story but you know.
Guest 3: Well there is the gesture of the political and the cultural. So is there dynamics in there (trails off)
CN: Well, it’s just all—I mean that’s how I grew up. So no matter which way I turn I have to look at the politics of ethnicity, the you know who I, it’s my experience. I’m split in half. Sort of Japanese and half American so I can never really settle into one place. But, I don’t really consciously set out to go, “I’m going to make a Japanese-American piece.” It’s just the stuff that I’m interested in that I pursue. And it kind of falls into place, hopefully, along the way.
Guest 4: Where does the line fall between you, as in you as a human being and you as in defined as a Japanese-American? Is there a line? And is it sometimes the same, sometimes different? Is it overlapping?
CN: uh, well. When I eat pizza I eat it with rice. (Laughter) So, so I guess that’s where the line is. (Laughter)
Guest 3: That’s the best answer ever.
FG: Let’s wrap it up on that high note. Thank you so much Craig Nagasawa. (Applause) Since we’re right here, Kwame could we have you speak about this piece here.
Kwame Braun: Okay. This is a complete departure for me. I usually make video. But I literally, I read Farley’s invitation to submit something and I immediately came up with this thing. Quite spontaneously. I don’t entirely know why. The original inspiration, well I have a Roomba…uh YouTube is full of cats riding them. (Laughter) But I guess the most immediate inspiration was the mess after the most recent Gay Pride parade, which was a lot of fluff and glitter on the sidewalk and I thought that it was really lovely. So I thought I’d do a face off Roomba’s and stuff raining down…Now, Farley’s invitation was perfect for me because as a departure from my normal practice, I felt it was an invitation to fail. So I built this thing without really knowing it would work. And, in fact, some of the things haven’t worked out as I conceived of them. For example, the Roombas…normally take a good deal of time to find their way around a room. And they have some sort of algorithm that eventually creates some sort of map so that they don’t keep on bumping into things. But what I didn’t realize is that, put them into a small area like this, they only run for seven minutes…and then shut down. So I took the opportunity to say, “Well what can I do with this.” And I came up with this. A little sign here that say, “If the robots are dormant, please provoke them [by pushing their buttons]”. (Laughter)
(excerpts from the beginning 16 minutes of the Art Talk)
… indicate sections where the author removed words or sentences.
Scroll to see what’s up at the Worth Ryder Art Gallery! The interns talk about the bay area artists in this weeks exhibition; (processing) – Bay Area Artists and the Archive
Randy Hussong’s show (by Sosun Park)
Randy Hussong is faculty in Art Practice department. He teaches printmaking and sculpture.
He is well-known to a post-modern, late minimal, neo-dada, pop conceptualist folk artist etc.
Come to his special show! The Berkeley Arts Festival, 2133 University Ave, Berkeley CA, September 15th – Halloween
“Randy Hussong – Old Boots/ New Work
Sax blown, the penguin slipped on the freshly melted ice cap his friend the polar bear had recently bemoaned, and half-way around the world hence, round the gulf, there whirled a brass Dixieland bass line, boom-boom-boom. Up in New York, a rocketing pianist, sophomore at Johnson in her reflection. Overseas again, having defected, a great white menace blows the whistle, a Silent Gesture screaming across the sky, over Net Privacy. Herein lies the modern gorilla war. But still there exists a guerrilla 1%, capitalizing The Sonorous Buddha in Las Vegas colors. Put on your bright warm boots, step in, step up, tune in, or simply drop in.” – Randy Hussong
Interview with Danielle Schlunegger (by Hyesun Kim)
What qualities of a tent enhances the overall experience of your work (specifically, the current work at Worth Ryder)? How does the dynamics of the gallery space interact with your work? Does it bring the viewers inside or outside?
Walking into the gallery and immediately being confronted with the structure of the tent is intended to be a little jarring and overwhelming in a way that tries to inspire a feeling of curiosity- of wanting to know more. I am hoping to light that spark in people that causes them to feel a great desire to investigate, similar to how an explorer of the 19th century must have felt coming upon something so entirely unexpected. This allows the viewer to relate in a small way to Marcus Kelli. The tent creates its own environment, and the shadows of leaves on the tent are reminiscent of being outdoors and far from the inside of a gallery. The installation is meant to be immersive and being able to touch and hold objects helps to make the viewer slow down and feel transported to another place and time within the gallery.
What do you want viewers to take away from your work?
I hope to be able to awake curiosity in people, so that they walk away with a renewed sense of wonder about the natural world. For a modern person overloaded with technological responsibilities, connecting with nature can become a welcomed source of meditation and deep thinking. As our society shifts, we have reached a point where humans must make crucial decisions about the future of our planet. It is my hope that Marcus Kelli’s story can be used as a springboard for self-reflection on our relationship with nature and how we continue to shape it.
Describing the work of Heather Murphy in the current exhibition (by Julia Borrebaeck)
In this month’s exhibition, Heather Murphy constructed a highly modern take on how people are constantly bombarded with information on the Internet. She made three short videos filled with devastating news mixed with entertainment clips, depicting the sharp contrast between the two most common types of news. Besides her way of portraying this, through using characteristics from popular digital platforms such as tweets from twitter, she has also chosen an interesting medium. You have to connect your smartphone to one of three video specific Wi-Fi networks and then open the safari app to view the video. On display at the exhibition is essentially three routers, headphones and instructions how to access the videos. Just as the phenomenon portrayed in the videos, the videos themselves are “only virtually present in the space”. These two images shows the contrast between the entertainment icon Taylor Swift and an extremist environment.
Experiencing “Kalapani” (artist Andrew Ananda Voogel) (by Taylor R. McAllister)
In the back of the Worth Ryder Art Gallery are two tall onyx curtains as doors to another space. Curious viewers will not be deterred by what immediately follows them: a black room, so dark that one cannot see their hand in front of their face. “There has to be more”, is what runs through the minds of most viewers. And there is. Curiosity gets you in, but patience gives you the art piece. By thirty seconds of standing hyperaware in the dark, flickers appear on a previously indistinguishable opposite wall. At two minutes, the viewer is hypnotized by the rhythmic movements of a dark film that is barely there. Gentle pale white bands of light flow back and forth; with one’s eyes adjusted they can see the subtle details of waves rolling over the dark land, meeting other waves, and a rock in the ocean standing against them. The mood of “Kalapani” for me was one of mild unease and uncertainty, as we do not usually stand in such darkness. And even with one’s eyes adjusted to the film and space, it is still impossible to see what is further out at sea. It is a great wide unknown far more mysterious than when seen in daylight. There is a mild sense of being at the edge of a precipice. And yet, as I watched the movement of the waves was a visual lullaby of light that balanced that feeling. The repetitive push-pull motions maintained the well-known sense of breathing that the ocean gives, despite the darkness. In its own way, the video was both unsettling and meditative. And as contrary as it seems, these two opposites stem from the same elements of the piece: the darkness and the vastness of the ocean. Andrew Voogel’s work is a beautiful experience, and quite a view.
Text edit: And yet as I watched the movement, the waves were a visual lullaby of light that balanced that feeling.
Soey Milk’s “PIDA” in Hashimoto Contemporary (by Celia Chu)
Soey Milk is one of my favorite Los Angeles artists that I first discovered through her Instagram profile, @soeymilky. Her art speaks of self empowerment and exploration of the human body. Her mesmerizing perfection of detail line work and pressure
of the utensils to capture wide variations ofgradients. There is an elegance to her distinct yet abstract line work that plays well with the meaning behind each and every defined graphite pieces with the incorporation of oils.
I wanted to solely focus on her as a blossoming artist, as well as her most recent solo artist show, “PIDA” in Hashimoto Contemporary. PIDA is still open to the public by this Saturday, October 24, 2015. PIDA is an expression of growth, and more precisely – a blossoming effect. I personally see Soey Milk as a growing artist, and she captivates her audience with fine fabrics and mesh materials in her realistic pieces.
Cirrus is a mystical piece I encountered and is also being sold at the gallery space. The curvaceous depiction of a woman is filled with emotion from border-to-border all the way to the fine line details of the speckled hair on her head to her pointed toes. The essence of deep reds draping her torso to the slight touches of peachy pinks on the soles of her feet define the signature color palette of what reds signify; blooming. The remnants of color surrounding this whimsy piece is romantic and touches on a sense of renewal. The abstraction in the background does not take away from the piece, it only enhances the subject of this woman.
For more information about her work and talent, click here for her website.
Here are the news from the interns at the Worth Ryder Art Gallery! This week features student artists, professional artist lecturers and campus art organisations. Take a look!
Student artist interview: Hannah Reinhard (by Julia Borrebaeck)
Check out this interview with artist Hannah Reinhard. Her latest work is featured at the exhibition I Know What You Did Last Summer at the Worth Ryder gallery this month. Here, she speaks about what inspired her latest work and why she wanted to become an artist. View interview on the following link: https://www.youtube.com/watch
Profiling Student Artist: Cade Cahalan (by Kirsten Chen)
Cade shoots film photography here at Cal. His subject matter ranges from his friends to drama landscapes to experimental work. Take a look.
Check out more of his work at http://cade-cahalan.com/
Q&A with Student Artist Chrissy Curl from IKWYDLS (by Lina Nguyen)
If you could only give one advice about studying abroad, what would it be?
“Keep an open mind to what daily life will be like — you’ll definitely have lots of fun, but you might also experience unexpected downturns.”
Chrissy Curl is a senior double-majoring in Art Practice and Theater & Performance Studies. Her piece, Crispy Others, talks about dispelling the common notion that studying abroad is simply an “idyllic time full of adventure and exploration and short on studying and responsibility.” “Crispy Others” is currently being showcased alongside other student artist works in the I Know What You Did Last Summer exhibition in the Worth Ryder Art Gallery.
Chrissy says she would highly recommend studying abroad for those who have the opportunity to do so. For more information about studying abroad, check out the fair happening this Friday, September 25th, 2015!
Get more information on studying abroad at http://studyabroadfair.berkeley.edu/
UC Berkeley Art Community ‘Outlet’ Co-presidents: Allison Zhong & Sophie Li (by Sosun Park)
Outlet is a student art organization that seeks to provide a creative outlet and access to supplies for visual artists of all experience levels. They work to serve the UC Berkeley campus and surrounding community by providing open access to arts education. Check out one of
Outlet’s weekly studio meetings on Mondays at 7pm in 172 Wurster or Thursdays at 7pm in 89 Dwinelle! Email email@example.com with inquiries.
More information and images at https://outletberkeley.wordpress.com
Artist Talk w/ Philip Ross (by Celia Chu)
Monday September 21, 2015 at 7:30 pm – 9 pm.
“Use what you have, to move yourself forward” – Philip Ross
This artist talk was not only enlightening from the art and scientific research that Philip Ross has created over a span of a decade, there was an emotional quality that put emphasis on his own feelings and approach toward his studies on mushroom/fungus/mycelium. He approached his love for art in biology with the projects within a time-basis as well as a lot of experimentation. His projects are wide variations on growth, and these projects gravitate from his fascination with a philosophical approach toward relations between humans and technology.
His quote really spoke to me as an artist and this quote not only pertains within the category of Art, but as a specific threshold that I can also relate to with my art works. The amount of determination it takes to create such masterpieces, helped him prosper as an artist.
He made a point in his Q&A, and from what I interpreted from him mentioning, “understanding the mono-biological approach, and not just [the] mechanical” is indeed an ‘organic’ approach toward learning through experimentation and not everything (as well as his projects) has to be completed or approached through a regulated system or by a set of rules/instruction.
I hope many others were thrilled to hear from Ross’ artist talk and to have gained something special from his kind words.
More information / video: https://www.youtube.com/watch?v=GRnJeNurdEY
Student artist interview with Jinoh Ryu (by Hyesun Kim)
1. How important is your choice of medium in conveying your thoughts and intentions for the piece? Does it have any relationship to the current digital age?
I could have taken a high-quality photo of myself applying peanut butter on my face. But I wanted to take advantage of the gloomy screen quality of the PhotoBooth program. What I ended up conveying is a lack of clarity, which raises anxiety in this era of meanings accessed immediately. Even to this day, I cannot pin down what I intended to explicate in the video. So the video has a masturbatory element; something perturbed me, but I was too tired to dig into what it was. I just had to get it out of my way.
2. What does peanut butter mean to you?
My scatological engagement with peanut butter is an act of resilience. In my video, the shitty peanut butter that I luxuriated in boasts 24% trans-fat. Essentially, the medical industry is stating, “Never put anything that is ‘trans’ in your body.” Yet as a transgender person, I welcome and embrace anything that is “trans.” And peanut butter mitigates the dull taste of other food such as celery, also known as the bane of my existence. But peanut butter never told me what it means to me. To peanut butter, I can say only that I am a better platform than those ugly bagels from the Golden Bear Café in capturing its titillating aesthetic.
3. You described your artwork to be therapeutic. How so? Why?
Although the gallery presents my video on mute, I have background music titled “Zero Gravity” by Korean rap star Zion.T. As I was listening to that lullaby-like music, I made an impromptu video which became my original submission. After clicking the “Finish Record” button, I had a gut sense that Deleuze and Guattari who coined the term ‘faciality’ communicated to me through orgasmic intensity. And what is more therapeutic than a scholarly orgasm? Right?
Student artist interview with Anthony Roberts (by Taylor R. McAllister)
Fallen Leaf No. 1, 2, and 3 from Series: Place. 2015 photographs on aluminum panels. Series of 3 at 20″ x 30″ each: 20″ x 94″ total
Anthony Roberts artist’s statement for his triptych in I Know What You Did Last Summer gallery show; “I often find myself identifying with the feeling I get in a place rather than the blinking blue dot on my phone that says “you are here.”
Place is about approaching places in this world as unique individuals. Through the abstraction of the physical landscape, my goal is to reveal a ‘feeling of being’ in each of those places. While removing any obvious geographical associations, these photographs are ultimately landscapes and I make no attempt to hide this. Instead, I want the viewer to experience the feeling and the sense of place in these photographs without the need to identify their exact location on a map and ultimately their physicality in society.
Much of this project has been shot while travelling along the California coast, in the mountains and on the roads in between.
All of the photos in this series are created in-camera through a photographic technique I call ‘dragging the shutter’ and are not manipulated during post processing.
“The exploration of individuality in contemporary society is a driving force in my artwork. Presently, I’m working on three separate photo projects and one mixed media project addressing this theme from different perspectives.” – Anthony Roberts
How would you introduce yourself as an individual and an artist?
“Introductions are hard, aren’t they? Especially when they are meant to really introduce. I think it’s challenging to distill oneself into a short and hopefully articulate description but I’ll do my best for you. I see myself as older than some and younger than others, but young at heart either way. I’m a bit of a wanderer, both physically and spiritually. I think I try to use that spirit in my artwork – I mean, I think my artwork has a bit of a wandering spirit in itself as well. I mostly focus on photography, lately, but I consider myself an artist in general.”
Could you tell me a short history of how you got here?
“A short history of nearly everything and mostly nothing” by A. Roberts. Born in Queens, New York in 1979 I just snuck in as a 70’s child. Total product of the 80’s, particular the movies. I still love 80’s movies and 80’s movie soundtracks. I could talk about that (and often do) for way longer than I should. Maybe one day I’ll make some artwork that directly pulls from that genre. I think that could be really cool. My grandmother still has an ever-yellowing paper drawing of an airplane that I allegedly made at the age of two, admittedly I do not remember drawing it. I actually included a wordier version of that grandma-drawing anecdote in my statement for my Berkeley application. I guess they liked it. I moved to California in 2001 and have considered the bay area home ever since then. I guess I’ve always been an “artist” but I never really accepted that as a possible “career” / “life” track until a couple of years ago while I was ski-bumming in Jackson Hole with my girlfriend. We had just started dating and decided to go on an adventure. After a year and a half of basically just playing in the mountains we were ready to come back to the bay area and I was ready to come back to school and finish my degree. I came back to school for architecture, then started to feel like an old man and after some great classes at the College of Marin with a couple of great art instructors, I switched into art. And here I am.
What is the driving force behind your work?
“I think the real driving force behind my work is that sense of wandering I mentioned earlier. I’m constantly searching. I’m also really interested in exploring the role of individuality in contemporary society, from various perspectives. I actually think these landscapes are part of that exploration of individuality. In the case of this series, I’m exploring the individuality of place and then how we experience that place as a society and also as individuals.”
“Fallen Leaf No. 1-3” are all photographs. What other media do you work in, if any?
“In the last couple of years I’ve completely fallen in love with photography, so it’s definitely my medium of choice. That being said, I also paint and draw. I’m currently exploring painting on large printed photographs. I’ve dabbled in some sculpture. Carved my first large stone last year. And I love working with wood. There’s something about the smell and the feel of a wood shop, or even the part of the apartment I’ve taken over as a makeshift wood shop. Oh yeah, and I like building snowmen, does that count?”
Tell us a bit about the physical process of creating this triptych.
“The process is really pretty straight forward. I always have a camera with me. When I first got my camera a few years I was so nervous to carry it around with me all the time, but now it’s a constant companion. The short version is really short. I find myself in a beautiful place, I take the photo and then later I process it into a jpeg and print it. I take pride in the fact that I generally don’t manipulate these images in Photoshop.”
In your artist’s statement you called the technique you used, “dragging the shutter” How did you develop this?
“This series of abstract landscapes are the result of traveling to beautiful places. I wanted to record the feeling of being in those places but I never wanted to be a landscape photographer or even shoot landscapes. About two years ago, I was in Yosemite and obviously I had to shoot that place. It’s just so beautiful. I was taking a time lapse of the moon rising over half dome and then I got the urge to grab the camera and sweep it across the landscape with a long exposure. The resulting image was really ethereal and kind of abstract and very pink. I thought, hmmm. This is kind of cool. Since then I’ve been working on this process of long exposures and camera movement to create these abstract landscapes. It’s still evolving but I like the directions it’s headed.”
What was your thought process when developing the work?
“There really wasn’t much more to it, at first, than just wanting to capture the feeling of a place, without capturing it’s geographically exactness. I think I mention the “feeling of being” of a place in my artist statement. That’s really it. I want to figure out ways to create images that evoke the feeling of a place without the need to attach oneself to its exact physical location on a map.”
As a series, how do you see Places developing?
“I think it’s one of those projects that will just continue and continue, until maybe I get bored with it one day. For now it’s a great project for me because it allows me to travel, really, it inspires and even forces me to travel, in order to create these images and that’s great. I would really like to travel more. It’s also great to experiment with the camera as a tool for creating artwork, not just “capturing” images.”
Where does “Fallen Leaf No. 1-3” lie in the scope of your Places series? (Beginning, middle, end?)
“I’d say I’m still in the beginning stages of the photo project and maybe in the middle stages of my life, so somewhere in that zone…”
For more information about his work visit http://www.arobertsphotography.com/
Reception: Thursday October 8, 5-8pm
Location: BAF 2133 University Ave Berkeley CA
next door to Ace Hardware at the top of University Ave
Show running: September 15 – Halloween
From the show announcement: Sax blown, the penguin slipped on the freshly melted ice cap his friend the polar bear had
recently bemoaned, and half-way around the world hence, round the gulf, there whirled a
brass Dixieland bass line, boom—boom-boom. Up in New York, a rocketing pianist,
sophomore at Juilliard, gets tendonitis, wedges beer-pong-ping-pong balls between her
fingers, and sees the bust of a Mephistophilically horned Robert Johnson in her
reflection. Overseas again, having defected, a great white menace blows the whistle, a
Silent Gesture screaming across the sky, over Net Privacy. Herein lies the modern gorilla
war. But still there exists a guerrilla 1%, capitalizing The Sonorous Buddha in Las Vegas
colors. Put on your bright warm boots, step in, step up, tune in, or simply drop in.
We’re very proud of 2010 MFA graduate Becky Suss landing a solo show of her work at the Institute of Contemporary Art, University of Philadelphia.
From the Q&A:
Philadelphia artist Becky Suss reimagines her relatives’ mid-century homes through meditative paintings and ceramics. Her canvases memorialize their collected art and objects, opening familial narrative to questions of class, politics, and religion in Cold War America.
As Suss made the final preparations for her first museum solo exhibition, she spoke with Becky Huff Hunter on her practice. Becky Suss, organized by Associate Curator Kate Kraczon, opens on Wednesday, September 16.
ICA: Your current work is a sort of archaeology of family history and narrative through objects. I love the description of your work as “filtered through the gray zone of memory,” from your Reprefantasion (2013) exhibition at Fleisher/Ollman. How do you approach this gray zone as a painter?
Becky Suss: Several years ago I learned about memory reconsolidation, a relatively new theory that describes the process of what happens when we revisit a memory. It suggests that each time we remember something, the memory is significantly altered, and the changed version takes the place of the original. There are no pristine accounts deep in our brains, only reconsolidated memories containing the traces of all of the other times these memories were recalled.
Art Practice Chair Allan Desouza has written a very compelling article for Art Practical, on the rise of punk and white riots in 1970’s Britain.
The opening paragraphs:
“The year 1977 was a pivotal one for British politics, for punk, and for me. It was the Silver Jubilee of the accession of “Her Majesty, Elizabeth the Second, by the Grace of God of the United Kingdom of Great Britain and Northern Ireland, and of Her other Realms and Territories Queen, Head of the Commonwealth, Defender of the Faith”—to use just one of her many baroque titles. The Sex Pistols honored her with the song “God Save the Queen.” Derek Jarman followed up with his cinematic paean to punk, Jubilee. In contrast to all the pomp and circumstance of the Silver Jubilee and the Queen’s call for national unity, The Clash released its first single, “White Riot.” A new hole was being ripped in England’s nostalgic mourning for its lost “green and pleasant land.”2
“I was part of the first generation from the former colonies (the aforementioned “other Realms and Territories”) to have largely grown up in England and was entering its colleges and universities as British students. This was a coming of age of new communities fighting for their rights of citizenship, forming new identifications, and transforming the social landscape with different kinds of bodies and hybrid cultural manifestations. We had few delusions of England’s green and pleasant.”
Exhibition Hours: Wednesday–Saturday, 12–6PM
*Limited Parking Available during Opening Reception—Lot Adjacent to 2916 W 7TH ST (One Block E of Chung’s Appliance)