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.”

(MORE…)

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
www.commonwealthandcouncil.com

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/FoundSF.org 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: deyoung.famsf.org and arts.berkeley.edu. 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.

A review of faculty Allan deSouza’s exhibit, ‘Notes From Afar’

(Courtesy of the New York Times)

In 2011, the Phillips Collection in Washington commissioned Allan deSouza to create a photographic response to Jacob Lawrence’s 60-painting “Migration Series” (1940-41), half of which is owned by the Phillips, the other half by the Museum of Modern Art in New York (where the entire work is on display through Sept. 7). The Lawrence cycle tells the story of the great diaspora of African-Americans, beginning in World War I, from the rural South to the industrialized North. Mr. deSouza, who was born in Kenya of South Asian parentage and lives in California, has long made displacement and alienation a subject of his art and does so again in “The World Series,” his incisive update to the older work. (more…)

Faculty Stephanie Syjuco in the KQED video “Reframed: Artists Seeking Social Change Bring the Public into the Picture.”

We’re very proud to announce that Art Department faculty Stephanie Syjuco was interviewed as part of the KQED and SFMOMA “On the Go” (the museum’s project wing while the physical museum is shut down). It features interviews with Stephanie Syjuco, along with Oakland artists Chris Treggiari and Chris Johnson about publicly-engaged projects. It’s a fascinating and compelling video.

From the KQED Arts page: Syjuco understands that this type of art can be difficult for people to comprehend at first. “If it’s in a museum or a gallery, people seem to understand, ‘Well, that’s where art belongs.’ But when it goes out into the world and is sometimes indistinguishable from other things that happen, I think that can be really beautiful.”

You can find the video here.