Bay Area Artists at the Worth Ryder Art Gallery

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

Randy Hussong

Interview with Danielle Schlunegger (by Hyesun Kim)

DanielleSchluneggerinterviewwithHyesun 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.

Latest student artist work at the Worth Ryder Art Gallery!

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:


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.

Photo by Cade Cahalan

Photo by Cade Cahalan

Check out more of his work at

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!ChrissyCurl

Get more information on studying abroad at

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 with inquiries.

More information and images at

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:

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

AP Solo Faculty Show with Randy Hussong. Old Boots/New Work Sculpture and Prints

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.

MFA Class 2010 Graduate Beck Suss in a Solo Museum Show

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.

(to continue reading…)

“A Brief History of Riots: 1977”, By Art Practice chair Allan Desouza

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.”


AP Faculty Show: Anne Walsh: Apprentice Crone’s Hearing Trumpet

Show running September 12—October 17, 2015

Reception: Saturday, September 12, 7–10PM
Location: 3006 W 7TH ST STE 220 Los Angeles CA 90005
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)

Commonwealth & Council presents Apprentice Crone’s Hearing Trumpet by Anne Walsh, a visual ‘adaptation’ of Leonora Carrington’s radical, comic fable The Hearing Trumpet (written in Mexico City 1950, published in Paris, 1976).

Narrated by a toothless, deaf, vegetarian hag, The Hearing Trumpet imagines revolt and anarchy at the old ladies’ home where Marian Leatherby and a gang of unruly crones are confined. This book, an allegory of eco-consciousness, spiritual immanence, interspecies love, and radical un-ageism, and its author have been the inspiration for much of Walsh’s work since 2007. Apprentice Crone’s Hearing Trumpet includes a series of photographic and laser-cut works on paper; a ‘music video’ and 4-channel video installation; and a live performance in the gallery of weekly ‘auditions’ for the role of “Leonora Carrington casting The Hearing Trumpet.” Walsh will conduct scheduled and open readings of monologues and scenes from the book on Thursday afternoons during the run of the exhibition.

Walsh’s ‘adaptation’ evokes a set of real and imaginary relationships of mutual influence amongst an intergenerational community of women: Walsh, the younger aspirant, and Carrington, the elder influence. The photographic works—small scale collages and larger studio photographs—are a methodically subjective collection of images made during Walsh’s research into the book, weeks spent in Mexico with Carrington herself, and attempts to come to terms with the process of becoming a (fictional) old lady.

Each of the 13 ‘cast lists’ names 17 fantasized ‘actors’—living and deceased and even fictional figures drawn from politics, philosophy, sports,I imagine each actor as an elderly version of him or herself. Not with special effects, just naturally aged. New actors occur to me every day, so there are many casts.”

The exhibition’s two video works, both titled Anthem, are quasi-documentary shorts showing a group of senior citizens (mostly female students in a musical theatre class) learning and rehearsing the Oscar-winning song, “Let it Go” from Disney’s Frozen. Walsh, who enrolls in the class in search of potential improvisers and actors, is cast and featured in the production as Elsa, Frozen’s protagonist ice queen. When “Let it Go,” a song which ostensibly celebrates personal liberation from constraining mores (powerfully anthemic to young children Walsh’s daughter’s age) is adapted—or adopted—by a group of women aged 65-80, their maturity and crone-dom give the song new meaning.

Anne Walsh lives and works in Oakland, CA. Her own works and those made with artist Chris Kubick have frequently engaged unsuspecting collaborators in the retelling of histories and the translating of texts. Spirit mediums, professional magicians, historical interpreters, craftspeople, and her own family members become ‘co-authors,’ so that the process of making, with its risks, desires, and failures, gives shape to the final work. Her projects have been exhibited at Diapason, NYC, San Francisco Camerawork, the Rosenbach Museum and Library (Philadelphia), Artists Space (NYC), Royal College of Art (London), Lothringer 13 (Munich), the Whitney Museum of American Art and as part of the Hayward Gallery’s (London) traveling exhibition program. Her sound work with Chris Kubick has aired on multiple National Public Radio (US) programs, Resonance Radio (UK), Munich Public Radio, Australian Broadcasting Corporation. Works for publication have appeared in Cabinet (NYC), Leonardo Music Journal, ArtLies (Houston, TX), and Camerawork. She is Associate Professor of Art Practice at U.C. Berkeley.

Young Chung
Commonwealth & Council
3006 W 7TH ST STE 220
Los Angeles CA 90005
213 703 9077

Revisiting South of Market A multi-generational conversation about change in the Bay Area, featuring recent MFA grad Leslie Dreyer

Friday, July 17
6:00-8:30 pm
Wilsey Court, de Young Museum

In an exhibition particularly relevant to the Bay Area, Janet Delaney: South of Market relates the complex history of a changing San Francisco neighborhood through a selection of more than 40 photographs from the 1970s and 1980s. Janet Delaney (b. 1952), an internationally recognized photographer and educator based in Berkeley, photographed the people and places in the South of Market district during a period when redevelopment was threatening to transform it irreversibly.

During the final of three “Friday Nights,” the de Young and ARC will conclude its programming around Janet Delaney: South of Market with an evening of art, performances, readings, and music that take San Francisco as the source of inspiration and response.

Wendy MacNaughton
Join artist Wendy MacNaughton for a multimedia presentation from her celebrated book Meanwhile in San Francisco: The City in its Own Words, a portrait of San Francisco told through the collective words of people who live and work in the city. Booksigning to follow.

Chris Carlsson
Join Chris Carlsson from Shaping San Francisco/ for a multimedia presentation on overlooked stories and forgotten histories of San Francisco. Booksigning to follow.

Leslie Dreyer
Artist, activist, and recent UC Berkeley MFA Graduate Leslie Dreyer (Art Practice ’15) talks about her ongoing project “Reclaim Disrupt,” a public performance piece that addresses the changing face of San Francisco.

Youth Speaks
Young poets from Youth Speaks, one of the world’s leading presenters of spoken word performance, education, and youth development programs, perform works inspired by the city of San Francisco.

For more information, look to: and The de Young Museum is located at 50 Hagiwara Tea Garden Drive, at John F. Kennedy Drive, in San Francisco’s Golden Gate Park. The park is easily reachable from all parts of the San Francisco Bay Area, via public transportation, bicycle, or car.

Architecture of Time (Art 171) 2015 Class Website

Architecture of Time examines video art as a narrative told in the universal language of sound and image moving through time. In this course students develop the creative, technical, and conceptual skills needed to acquire a solid foundation in the art of time-based media and cinematic storytelling.

The class culminates with two events:

1. An exhibition “Junction” at the Worth Ryder Gallery, in which students collaborate with each other and produce four site-specific multi-media installations.

2. A final screening at Artists’ Television Access, a San Francisco-based, artist-run non-profit organization.

The website showcases outstanding works by the talented students of Architecture of Time 2015.

architecture of timeclass-1200px

Congratulations to our Eisner Prize winners!

Congratulations to the winners of the 2015 Roselyn Schneider Eisner Prizes, including, in Art, MFA candidates Tanja Geis, Lee Lavy, Michelle Ott, and Sofie Ramos, and, in Film and Video, MFA candidate Clement Hil Goldberg!

2015 Eisner Prize winners, L>R: Michelle Ott, Tanja Geis, and Lee Lavy. Not shown: Sofie Ramos and Clement Hil Goldberg.

2015 Eisner Prize winners, L>R: Michelle Ott, Tanja Geis, and Lee Lavy. Not shown: Sofie Ramos and Clement Hil Goldberg.

Eisner Prize: In 1963, Samuel Marks established an endowment of $250,000 for the advancement of the arts on the UC Berkeley campus, in memory of his stepdaughter, Roselyn Schneider Eisner, an artist and sculptor. The Chancellor’s Advisory Committee on the Arts recommended the money be used to establish prizes in each of the Creative Arts.