The 47th Annual University of California, Berkeley Master of Fine Arts Graduate Exhibition, May 17 through June 11.

Each year, BAMPFA and the University of California, Berkeley Department of Art Practice work together to present an exhibition of works by Berkeley MFA graduates. This year’s graduates are Takming Chuang, Lucas DeGiulio, Behnaz Khaleghi, Shari Paladino, Jovi Schnell, and Andrew Wilson. Be among the first to encounter the recent work of these six exceptional artists.

There will also be an Artist’s Talk and Opening Reception (the reception is for current BAMPFA members and guests of the artists) on May 17h.

Please the BAMPFA website for more details.

The 47th Annual University of California, Berkeley Master of Fine Arts Graduate Exhibition is organized by Curatorial Assistant Matthew Coleman and Assistant Curator Stephanie Cannizzo. The annual MFA exhibition is made possible by the Barbara Berelson Wiltsek Endowment.

Art Practice is Proud to Present our 2017 Eisner Award Winners.

Art Practice department Eisner Awardees, 2017, for Highest Achievement in the Creative Arts.

L-R: Jerome Pansa; Irene Chen; Aileen Candelario; Belinda Cortez; Takming Chuang; Gabriel Carr.







About the Eisner Award: The Will Eisner Comic Industry Awards, commonly shortened to the Eisner Awards, are prizes given for creative achievement in American comic books, sometimes referred to as the Comics Industry’s equivalent of the Oscar Awards.They are named in honor of the pioneering writer and artist Will Eisner, who was a regular participant in the award ceremony until his death in 2005. The Eisner Awards include the Comic Industry’s Hall of Fame. (From Wikipedia)

Artist Mildred Howard to be the Commencement Speaker at the 2017 Art Practice Graduation.

The Department of Art Practice is pleased to announce that our 2017 Commencement Speaker will be Bay Area artist Mildred Howard. Commencement will be on Monday, May 15th at Hertz Hall .

Mildred Howard, “Laila Ali”, 2010. Mixed Media Assemblage, 56″ x 22″ x 14″. Courtesy Anglim Gilbert Gallery.


Known for her sculptural installations and mixed media assemblage work, Mildred Howard has been the recipient of numerous awards, including the Adeline Kent Award from the San Francisco Art Institute, the Joan Mitchell Foundation and a fellowship from the California Arts Council. Her work has been exhibited internationally including recent shows in Berlin, Cairo, and Bath, England. Large scale installations have been mounted at the Richmond Art Center, Creative Time in New York, in SITE San Diego, the National Museum of Women in the Arts, and the New Museum in New York. Public commissions and installations were executed for the Museum of Glass in Tacoma, Washington, the City of Oakland, the San Francisco Arts Commission and International Airport, and the San Jose Museum of Art.

View artwork by Mildred Howard on the Anglim Gilbert Gallery website.

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Art Practice Chair Allan deSouza: Through the Black Country, along with Alia Syed: On a wing and a prayer, at Talwar Gallery, New York City, through April 1

Immigrant, exile, refugee, traveler, stranger: these are the figures that define our time. They are alternately the fantasy and the nightmare of globalization—neoliberalism dreams of a “flat earth,” a world system where laboring bodies travel across borders as easily as capital, while populism fears those same bodies as dangerous, even deadly, parasitical drains on local economies and civil society. What these seemingly opposing narratives share is a determination to erase historical and material realities that motivate such mobility: the wars, economic crises, imperialisms and colonialisms, the violences and disparities that make displacement necessary and impossible, full of friction, driven by a basic instinct for survival.

A two-artist show at Talwar Gallery takes on the problem of the peripatetic body in relation to xenophobia, isolationism, and racism in the UK, but from two markedly different vantages. Allan deSouza’s Through the Black Country imagines Brexit via the form of the nineteenth-century traveler’s account, using a series of wall texts, maps, and images, while Alia Syed turns to video to convey the experience of a Sudanese refugee caught in the limbo of statelessness. The show opened on January 13 in New York—after the defeat of Hillary Clinton, which represented, among other things, a serious blow to open borders and free-trade zones like the Trans-Pacific Partnership, but before Trump’s executive order banning travel from certain Muslim-majority countries and his aggressive interpretation of deportation rules, among other anti-immigrant measures. In the aftermath of these events, the show has become pointedly relevant.


Art Practice Faculty Greg Niemeyer Interviewed by Le Monde Newspaper

If you speak French.

From the opening:

"Greg Niemeyer has been the head of the New Media Center at Berkeley University in the United States and has taught this subject 
since the beginning of his career. A graduate of classical arts and photography in 1997 in Stanford, he offers a
transdisciplinary analysis of the interactions between human and technology. In an interview, he looks back over twenty years of 
in-depth transformations of the education sector and sheds light on the challenges of tomorrow's world of work."

Art Practice Summer Sessions: ART163, “Escuela Arte Util”, taught by renowned Cuban artist Tania Bruguera

ART N163 – Social Practice: Critical Site and Context

The renowned Cuban artist, Tania Bruguera, will focus on her concept of ARTE UTIL,, translating loosely as “useful art”, and suggesting that art can be a tool or device.

Enrollment requires familiarity with the ARTE UTIL archive and lexicon, as well as submitting a statement of 250-400 words explaining what social issues interest you, and how you think aesthetics can disrupt institutional structures. Send to:

SESSION C: June 19 – August 11

MWTh – 4pm – 8pm (Friday is optional critique/studio time)

Art Practice Lecturer and MFA Alum Alicia McCarthy wins a 2017 SECA Award

Since 1967, SECA (Society for the Encouragement of Contemporary Art) has honored over seventy Bay Area artists with the SECA Art Award, which includes an exhibition at SFMOMA and inclusion in the accompanying catalogue. Recipients of the SECA Art Award, typically four per award year, are chosen during a ten-month process involving artists, SECA members, museum staff, and members of the local arts community. (more)

Congratulations, Alicia!

Please join the depts. of Art Practice and English for an artist’s talk by Christopher Cozier. Monday Oct 24 6:30 p.m. 285 KROEBER HALL

Christopher Cozier (b.1959, Port of Spain, Trinidad & Tobago) is an artist, writer and curator living and working in Trinidad. The artist is recipient of a Prince Claus Award for 2013. His work has been featured at The Brooklyn Museum, Museum of Art and Design NY, Havana Biennial, Biennial de Cuenca, Ecuador, Trienal Poli/Gráca de San Juan: América Latina y el Caribe, TATE Liverpool, among others.. He was a member of the editorial collective of Small Axe: A Caribbean Journal of Criticism and an editorial adviser to BOMB Magazine for their Americas issues. He is co-director of Alice Yard, a 10-year old arts space in Port-of-Spain which organizes exhibitions, artists’ residences, cultural dialogue and exchanges.

Cozier’s work will be featured alongside the work of UC Berkeley Professor of Art Practice Allan deSouza in the upcoming exhibit ‘Where Is Here’ curated by Jaqueline Frances and Kathy Zarur at the Museum of the African Diaspora (MOAD) which runs from Oct. 26, 2016-Apr. 2, 2017. This exhibition presents the works of ten (10) contemporary artists from across the globe, who are developing personal and engaged visual and musical systems to claim, make, and describe space.

Cozier will discuss the potentially free/play spaces that Caribbean artists are constantly imagining, constructing, and navigating, including in his own creative practice and at Alice Yard. Cozier will also discuss how the established idea of the Caribbean— as a viable action, as a site of exchange, an owned product or territory traded between various beneciaries, internal and external, persists. Caribbean artists have made the production of these “in-between territories” the underlying logic of “being here,” wherever that may be.