Each year, BAMPFA and the University of California, Berkeley Department of Art Practice collaborate to present an exhibition of works by Berkeley Master of Fine Arts graduates. This year’s exhibition includes the exceptional work of Maggie Lawson, Nancy Sayavong, Nicki Green, Olivia Ting, Rachel Stallings, and Sarah-Dawn Albani.
Jill Miller is a visual artist who collaborates with individuals and communities in the form of public interventions, workshops, and installation art. She often creates non-vital public services, using the opportunity to point the finger at something lacking in our culture. For example, The Milk Truck, an emergency breastfeeding advocacy vehicle, called out establishments who were hassling or harassing breastfeeding mothers in Pittsburgh, Pennsylvania. Often humorous, her work straddles the line between going too far and not going far enough. She intentionally uses this strategy to open questions about difficult subject matter. In past work, she searched for Bigfoot in the Sierra Nevada, inserted herself into the art historical work of John Baldessari, and became a private investigator who performed surveillance on art collectors.
Born in Illinois, she received her MFA in from University of California, Los Angeles and her BA from University of California, Berkeley, in English. Her work has been shown nationally and internationally, and collected in public institutions worldwide including CA2M Centro de Arte Dos de Mayo in Madrid and the Hirshhorn Museum and Sculpture Garden.
Art Practice Commencement May 15th, 2018, at Hertz Hall, on the campus of UC Berkeley
Michele Carlson is a practicing artist, writer, curator and educator in the San Francisco Bay Area. Her visual works, primarily collaged drawings on paper, have been exhibited nationally at venues including Patricia Sweetow Gallery, the San Francisco Arts Commission, Intersection for the Arts, and Cerasoli Gallery, Los Angeles. She has received awards and fellowships from Kala Art Institute, San Francisco Arts Commission, and the Reader’s Digest Museum Foundation. Her critical writings has been published in numerous publications including Art in America, KQED Arts, Hyphen, Art Practical, and Afterimage and various exhibition catalogs.
Carlson is also an independent curator. She recently curated Estamos contra el muro | We Are Against the Wall, a solo exhibition by Sita Kuratomi Bhaumik at Southern Exposure, which addressed the fragility of borders and walls in a global economy.
She is one third of the arts collective Related Tactics, which facilitates projects at the intersection of race and culture. Carlson is on the Board of Directors at SOMArts, San Francisco, CA and the Advisory Board of Center for Art and Public Life, San Francisco, CA. She is currently the Executive Director at Art Practical, an arts media organization based in San Francisco that produces weekly reviews and essays, podcasts, books, events and programming. She is an Associate Professor in Visual and Critical Studies at California College of the Arts.
Great content (as usual) in this issue!
At the last survey of new photography at the Museum of Modern Art two years ago, the atmosphere was so self-referential and hermetic that a visitor panted for oxygen. Often, the photos were images of images, taken off a computer screen or digitally created in the studio. It seemed as if photography, which continued to engage with the world after modernist painting and literature turned inward, had finally crumpled into solipsism.
A lot can change in two years. (article continues…)
Green and orange ceramic statues with a reptilian texture were displayed inside “Bodurinao’s shrine,” surrounded by candles. At first, the statues looked like the body parts of crocodiles, but on closer look, were actually mixed creatures composed entirely of sex organs. The shrine itself was actually the inside of an art studio at the Richmond Field Station. It was built for a new religion called “Leymusoom,” created as an art project by Heesoo Kwon. Visitors came into the shrine and looked at the statues, wondering what those were. Kwon explained the religion to them. (More…)
The noon lecture series this year features five amazing painters:
Monday, Feb 26
12-1pm, Kroeber 285
Mimi Lauter uses soft and oil pastel in painterly works on paper that linger between abstraction and representation; they are at once both and neither. Here representation is a guide to experiencing something indefinable, and abstraction is employed as a method of representing something unseeable. This conflicting relationship is one of many contained within artworks that are at once universal and specific; mythic and personal; painting and drawing. Hints of still life, landscape, and other familiar forms appear and then recede into baths of color and the subconscious, allowing each viewer an opportunity for a unique understanding and translation.
Mimi Lauter (b. 1982) lives and works in Los Angeles, CA. Upon graduating with her Master’s Degree from the University of California, Irvine in 2010, she immediately began presenting solo exhibitions at Marc Selwyn Fine Arts in Los Angeles and Shane Campbell Gallery in Chicago. In 2018 she will mount solo exhibitions at Blum and Poe in Los Angeles, Derek Eller Gallery in New York, and Shane Campbell Gallery in Chicago. Her work has been included in exhibitions at Carnegie Art Museum, Oxnard, CA, The Hammer Museum, Los Angeles, CA, Tif Sigfrids, Los Angeles, CA and Federica Schiavo Gallery, Rome, Italy. Her work is featured in the public collections of The Hammer Museum, Los Angeles; The Los Angeles County Museum of Art, Los Angeles; and the Maurice and Paul Marciano Art Foundation, Los Angeles.
Tuesday, Feb 27
12-1pm, Kroeber 285
Hovering somewhere between collage and painting, my practice involves a rigorous investigation of color, form, and movement. I consider the use of excavation, the replacement of one material for another, inlaying, collecting and recycling to be the foundation of my work. Motif dynamics become complicated by shearing away sections and filling the resulting holes with cut shapes that don’t quite fit. These additions and subtractions ‘equalize’ the picture plane by creating situations in which a form can be both figure and ground. Formal, personal and social politics set the rules for my studio based practice. These ‘painted constructions’ are assembled from cut paper, canvas, cardboard, paint, tape and glue. The residues of my working methods, from the paper cutouts amassed in organized piles to the heavy watercolor paper lining the floor of my studio are given equal value and saved to be reinserted into future works. This ‘floor’ paper sits within the piece, Untitled (flr.ppr.blk.dmnds.) 2015, among others. The paper’s surface holds at least five years of stains, drips, spray painted marks, brush marks, footprints, and dirt. It, like many of the materials I use, holds an inherent history of ‘older work’. In this sense, there is a continual stream of potentiality among every element in my practice.
Lecia Dole-Recio received her BFA at Rhode Island School of Design (1994) and her MFA at Art Center College of Design, Pasadena (2001). She has had solo exhibitions at Gavlak Gallery, Los Angeles (2016), The Secession, Vienna (2011), Richard Telles Fine Art, Los Angeles (2011, 2009, 2005, 2004, 2002); Casey Kaplan, NY (2009), the Museum of Contemporary Art, Los Angeles (2006); and the Galerie Stephan Adamski, Aachen (2004). Lecia has had work shown extensively in group exhibitions throughout the US and also in Europe, including the Whitney Biennial (2004). Her work is in the collections of the Museum of Contemporary Art, Los Angeles; The Walker Art Center in Minneapolis; The Hammer Museum, Los Angeles and the Los Angeles County Museum of Art.
Monday, March 5
12-1pm, Kroeber 285
Kenyatta A.C. Hinckle
Kenyatta A.C. Hinkle is an interdisciplinary visual artist, writer and performer. Her practice fluctuates between collaborations and participatory projects with alternative gallery spaces within various communities to projects that are intimate and based upon her private experiences in relationship to historical events and contexts. A term that has become a mantra for her practice is the “Historical Present,” as she examines the residue of history and how it affects our contemporary world perspective. Her artwork and experimental writing has been exhibited and performed at The Studio Museum in Harlem, Project Row Houses, The Hammer Museum, The Museum of Art at The University of New Hampshire, The Museum of the African Diaspora (MoAD) in San Francisco, The Made in LA 2012 Biennial and The BALTIC Centre for Contemporary Art, Newcastle upon Tyne, UK. Hinkle’s work has been reviewed by the Los Angeles Times, LA Weekly, Artforum, Hyperallergic, The Huffington Post, The Washington Post and The New York Times. She is also the recipient of several awards including: The Cultural Center for Innovation’s Investing in Artists Grant, Social Practice in Art (SPart-LA), Jacob K Javits Fellowship for Graduate Study, The Fulbright Student Fellowship, and The Rema Hort Mann Foundation Emerging Artists Award. Her writing has appeared in Not That But This, Obsidian Journal, Among Margins: Critical & Lyrical Writing on Aesthetics, and she has a forthcoming first book called SIR, a reflection on naming as a tool for undefining the defined, that will be published with Litmus Press. Hinkle’s exhibition focused on the erasure of black women historically and presently The Retrieval is on view at The San Francisco Arts Commission February 16th- April 7, 2018.
Tuesday, March 6
12-1pm, Kroeber 285
“My work functions both as homages and posthumous collaborations between me and my late father. I am interested in the idea of fostering a collaboration, without my father knowingly doing so. The inception of these works came about due to prior plans to collaborate with him two years before his death. Our intentions were to better understand each other’s professions (he was a watersports instructor specializing in parasailing and me, a multimedia visual artist), with the deeper interest in using both of our practices to metaphorically connect with my deceased mother. My work harnesses a broad range of visual references, drawing equally from literature, folk religious practices, folk celebratory practices, mythology, and the history of statues and memorials.”
Munroe earned a BFA from Savannah College of Art and Design (2007). In 2010, He represented the Bahamas at the Liverpool Biennale. He earn a MFA from Washington University in St. Louis (2013), which was immediately followed by tenure at Skowhegan School of Painting and Sculpture (2013). He was awarded a Joan Mitchell Foundation Painting and Sculpture Grant (2013). In 2014, Munroe was awarded a Postdoctoral Fellowship at the University of North Carolina at Chapel Hill, where he was later recognized with the Postdoctoral Award of Research Excellence (2015). In 2015, he exhibited in the 56th Venice Biennale, curated by Okwui Enwezor. He then participated in the 12th Dakar biennale (2016), curated by Simon N’jami. Munroe was the recipient of the Josef and Anni Albers Foundation: THREAD Senegal residency (2017). He was selected for Prospect New Orleans 4 (triennial) curated by Trevor Schoonmaker. Munroe is the recipient of the Distinguished Alumni Award from Sam Fox School of Art and Design at Washington University in St. Louis (2017-18) and is currently an artist in residence at Headlands (2018).
Munroe’s work has been exhibited in institutions such as The Mildred Lane Kemper Art Museum, the Orlando Museum of Art, the National Art Gallery of the Bahamas, the Nasher Museum of Art, the Contemporary Art Museum of Raleigh, the SCAD Museum of Art, Museum of Contemporary African Diasporan Arts (MoCADA) and upcoming at the Museo Nazionale delle Arti del XXI Secolo (MAXXI), and The Meadows Museum, among others.
Thursday, March 8
12-1pm, Kroeber 285
Employing a fattened style and often working with loose isometric compositions, Pugay’s bright blocky colors and simplified forms and figures illustrate scenes that at first appear approachable and playful, but gradually reveal darker, more complex truths. Vibrant colors and repeating patterns in grass, jail cell bars, rippling of water, or delivery ward incubators, fill his canvases with a spark of liveliness and an often vibratory quality. All the while, he digs into surprisingly abject and existential territory, including themes of hunger, ecology, politics, and fear. This combination produces incongruous and unsettling results. He creates tangential narratives to current events, highlighting the vulnerabilities and anxieties of humanity, and what Pugay calls the “mishaps of the everyday.” Philosophical inquiries into such areas as identity, politics, technology, mysticism, paradox, constructions of morality, and meta-narratives are the wellspring that feeds his unexpected allegorical collisions.
Ralph Pugay holds an MFA in Contemporary Art Practice from Portland State University and is a residency graduate of the Skowhegan School of Painting and Sculpture in Maine. Notable solo exhibitions were held at the Seattle Art Museum, Upfor, Vox Populi, and FAB Gallery (Richmond, VA), among others. Group exhibitions featuring Pugay’s work include the Portland2014 Biennial and the 2012 CoCA exhibition in Seattle. In 2016, Pugay collaborated with Ariana Jacob to create S.A.D Park: The World’s First Seasonal Affective Disorder Park in Portland OR. Formerly a visiting faculty member at Virginia Commonwealth University, he was recently appointed the James DePriest Visiting Professor of Art at Portland State University. Pugay’s honors include a Betty Bowen Award from the Seattle Art Museum, an Oregon Arts Commission Fellowship, and a Joan Mitchell Foundation Painters and Sculptors Award. Pugay was recently awarded a Ford Family Foundation Fellowship to attend the Rauschenberg Residency at Captiva Island in 2018.
Natalia Brizuela, Associate Professor, Film and Media, and Spanish and Portuguese.
Ahmad Diab, Assistant Professor, Near Eastern Studies
Atreyee Gupta, Assistant Professor, Art History
Moderated by Allan deSouza, Art Practice
Emily Jacir’s work is primarily concerned with transformation, translation, resistance, and silenced historical narratives, investigating personal and collective movement and its implications on the experience of trans-Mediterranean space and time. Jacir has received numerous awards, including a Golden Lion at the 52nd Venice Biennale (2007); a Prince Claus Award (2007); the Hugo Boss Prize (2008); and the Herb Alpert Award (2011). Her works have been shown internationally, including at the Museum of Modern Art, New York; SFMoMA; dOCUMENTA (13), (2012); Irish Museum of Modern Art, Dublin (2016); Venice Biennale (2005, 2007, 2009, 2011, and 2013), as well as numerous other biennales and major exhibitions.
Natalia Brizuela’s work focuses on the arts, critical theory and aesthetics of Spanish America, Brazil and the Global South. She has authored three books: Photography and Empire; After Photography; and the forthcoming The Matter of Photography in the Americas that will accompany the exhibition she curated for Stanford University’s Art Museum, the Cantor Arts Center. She co-edited a special issue of the Journal of Latin American Cultural Studies (2015), on photographers Grete Stern and Horacio Coppola, and of a book of essays on experimental writer Osvaldo Lamborghini (2008). She is currently working on a study of time as critique in contemporary audio-visual aesthetics from the Global South.
Ahmad Diab received his B.A. from Damascus University, majoring in English Literature. His teaching and research interests are twentieth and twenty-first century Arabic literature, Middle Eastern cinema, and translation studies. He is currently working on a book manuscript, tentatively titled Impossible Exiles, which analyzes literary, artistic and filmic representations of Arabs in Palestinian cultural production.
Atreyee Gupta focusees on global modernisms and contemporary art, with an emphasis on South and Southeast Asia and its diaspora. She is completing a monograph on abstraction in interwar and postwar painting, sculpture, photography, and experimental film in South Asia. She has coedited The Postwar Reader (with Okwui Enwezor and Ulrich Wilmes), and Global Modernism/s: Infrastructures of Contiguities, ca. 1905–1965 (with Hannah Baader and Patrick Flores). Gupta’s essays have appeared in edited volumes, exhibition catalogs, and journals such as Art Journal, Yishu, and Third Text. She was previously the Jane Emison Assistant Curator of South and Southeast Asian Art at the Minneapolis Institute of Art.
Allan deSouza is Associate Professor and Chair of the department of Art Practice. His work has been shown extensively in the US and internationally. His forthcoming book is How Art Can Be Thought: A Handbook for Change (Duke University Press, Fall ‘18).
Emily Jacir is an artist and filmmaker who is primarily concerned with transformation, questions of translation, resistance, and silenced historical narratives. Her work investigates personal and collective movement through public space and its implications for the physical and social experience of trans-Mediterranean space and time. Jacir is the recipient of awards including a Golden Lion at the 52nd Venice Biennale, a Prince Claus Award, the Hugo Boss Prize, and the Herb Alpert Award. Jacir’s works have been in important group exhibitions at the Museum of Modern Art, New York; San Francisco Museum of Modern Art; Fondazione Sandretto Re Rebaudengo, Turin; Documenta 13; multiple editions of the Venice Biennale; 29th Bienal de São Paulo, Brazil; 15th Biennale of Sydney ; Sharjah Biennial 7; the 2004 Whitney Biennial; and the 8th Istanbul Biennial. Jacir’s recent solo exhibitions include presentations at the Irish Museum of Modern Art, Dublin; Whitechapel Gallery, London; Darat il Funun, Amman; Beirut Art Center; and Guggenheim Museum, New York.
The UC Berkeley Department of Art Practice invites you to join us for our Spring 2018 Wiesenfeld Visiting Artist Lecture Series, featuring artists Emily Jacir, Irena Haiduk, Ian Cheng, and Takming Chuang.
All lectures are FREE and open to the public.
Art Practice 2018 Regents Fellowship Speaker
Monday, February 12
BAMPFA, Osher Theater
Emily Jacir is an artist and filmmaker who is primarily concerned with transformation, questions of translation, resistance, and silenced historical narratives. Her work investigates personal and collective movement through public space and its implications for the physical and social experience of trans-Mediterranean space and time. Jacir is the recipient of awards including a Golden Lion at the 52nd Venice Biennale, a Prince Claus Award, the Hugo Boss Prize, and the Herb Alpert Award. Jacir’s works have been in important group exhibitions at the Museum of Modern Art, New York; San Francisco Museum of Modern Art; Fondazione Sandretto Re Rebaudengo, Turin; Documenta 13; multiple editions of the Venice Biennale; 29th Bienal de São Paulo, Brazil; 15th Biennale of Sydney; Sharjah Biennial 7; the 2004 Whitney Biennial; and the 8th Istanbul Biennial. Jacir’s recent solo exhibitions include presentations at the Irish Museum of Modern Art, Dublin; Whitechapel Gallery, London; Darat il Funun, Amman; Beirut Art Center; and Guggenheim Museum, New York.
Irena Haiduk: Yugoexport is the Name of this Oral Corporation
Monday, March 19
BAMPFA, Osher Theater
Irena Haiduk’s multi-faceted works reach beyond their anchors in Balkan history to mingle with other corrosive forces and slice away at the well-fed bodies of power. She has exhibited at the Institute for Contemporary Art, Philadelphia; the Museum of Contemporary Art Chicago; Museum of Arts and Design, New York; Reva and David Logan Center for the Arts at University of Chicago; AKUD, Berlin; the 4th Athens Biennale; and other locations. A monograph of her writing, SPELLS, has just been published Sternberg Press. Haiduk teaches at Northwestern University.
Ian Cheng: new art, flag art, good art, portal art
Presented in partnership with the Berkeley Center for New Media’s Arts, Technology and Culture Colloquim.
Monday, April 9
BAMPFA, Osher Theater
Ian Cheng’s work explores the nature of mutation and the capacity of humans to relate to change. Drawing on principles of video game design, improvisation, and cognitive science, Cheng has developed “live simulations”, living virtual ecosystems that begin with basic programmed properties, but are left to self-evolve without authorial intent or end. His simulations model the dynamics of often imaginative organisms and objects, but do so with the unforgiving causality found in nature itself. What results is a cascade of emergent behaviors that the artist can manage but never truly control.
Cheng received his BA in Art Practice and Cognitive Science from UC Berkeley. Recent exhibitions incude: EMISSARIES, MoMA PS1, New York; Migros Museum, Zurich; Pilar Corrias Gallery, London; Real Humans, with Wu Tsang, Jordan Wolfson, Kunsthalle Düsseldorf, Düsseldorf; Yokohama Triennale 2017; Tate Modern, London; Jewish Museum, New York, and the Liverpool Biennial 2016.
Presented in partnership with the Berkeley Center for New Media’s Arts, Technology and Culture Colloquium.
Awardee of the Art Practice Sam Francis Fellowship for the 2017 Headlands Residency
Monday, April 23
Kroeber Hall, Room 120
In an era marked by rapid change, Chuang explores the intent of preservation by working with materials that are inherently unstable. Initially influenced by the ephemerality of the human form, early work addressed the ideals of gym culture and its impact on his aging body. Recent sculptures model the nature of impermanence in broader terms to consider underlying systems of value associated with conservation initiatives. He received his MFA in Art Practice from UC Berkeley in 2017 and a BA in Economics from the State University of New York, Binghamton. At present, Chuang is a Graduate Fellow at Headlands Center for the Arts, Creative Dissent Fellow at Yerba Buena Center for the Arts, programming committee member of Right Window Gallery, and a Spring 2018 Lecturer at UC Berkeley in Collaborative Innovation.
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