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S A N F R A N C I S C O A RT I N S T I T U T E

PUBLIC P R O G RA M S FREE & OPEN TO ALL » SPRING 2014


S FA I 'S E X H I B I T I O N S

AND PUBLIC PROGRAMS provide direct access to artists and ideas that advance our culture. The Walter and McBean Galleries, established in 1969, present exhibitions at the forefront of contemporary art practice. The gallery serves as a laboratory for innovative and adventurous projects and commissions new work from emerging and established artists. SFAI’s Public Programs develop meaningful interactions between artists, students, and audiences through lectures, education opportunities, and artist-driven experiences. Together, the exhibitions and public programs of the San Francisco Art Institute promote an environment that catalyzes the creative processes of its student artists and thinkers, and creates intimate connections between the SFAI community and the public. SFAI.EDU

SFAI’s Exhibitions and Public Programs are made possible by the generosity of donors and sponsors. Major support is provided by Grants for the Arts/San Francisco Hotel Tax Fund. Program support is provided by the Harker Fund of The San Francisco Foundation, The Andy Warhol Foundation for the Visual Arts, and West Coast Vending and Food Service, Inc. The Distinguished Visiting Fellowship for Interdisciplinary Painting Practices is funded by the Winifred Johnson Clive Foundation. Ongoing support is provided by the McBean Distinguished Lecture and Residency Fund, The Buck Fund, and the Visiting Artists Fund of the SFAI Endowment.

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WALT E R A N D McBE AN G A L L E R I E S

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GALLERY HOURS TUESDAY | 11 AM–7 PM WEDNESDAY–SATURDAY | 11 AM–6 PM Open until 7:30 pm on lecture nights

FRANCIS CAPE: UTOPIAN BENCHES JANUARY 21–MARCH 15, 2014 PUBLIC EVENTS RECEPTION

Thursday, January 30, 7–9 pm SCREENING AND CONVERSATION

Women on the Land: Creating Conscious Community » A documentary by Carmen Goodyear and Laurie York Tuesday, February 25, 7:30 pm LECTURE

Forms of Function: The Architecture of Utopian Communities in Nineteenth-Century America » by Irene Cheng Tuesday, March 4, 7:30 pm Francis Cape’s Utopian Benches is an installation of 17 poplar benches arranged in rows that together fill the gallery. Each bench was precisely replicated from existing benches crafted by American communal societies. Their form and design closely reflect their use within the specific community, and by extension their organizational structure and collective values. Of this work, Cape has proposed, “material culture reflects social structure.” In selecting societies, Cape focused on nineteenth-century communities that shared a craft tradition—the earliest bench produced by the Ephrata Cloister, Pennsylvania, is dated to the mid-1700s, while the most recent bench is in continuous use by Camphill Village Kimberton Hills, also in Eastern Pennsylvania. Cape visited the communities, or extant benches, to measure and document their dimensions and construction methods. Each bench was then meticulously reconstructed of poplar sourced near his studio in Narrowsburg, New York. The benches are shown alongside Cape’s suite of drawings that serve both as archival renderings and construction documents. Utopian Benches recognizes these reductive, proto-modern seats as cultural equalizers and essential components in the creation of nonhierarchical spaces for conversation and communion, be it religious, political, or otherwise. Their arrangement creates an egalitarian field that levels proscenium divisions; here there is no stage or audience—we sit together.

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For the past 20 years, Cape has explored the cultural context and social triggers of interior architecture and furniture. Utopian Benches is a work spurred by his specific interest in the capacity of the simplest furniture form to express fundamental shared values of intentional communities. For individuals whose lives were often arranged in radical opposition to normative culture, coming together in meeting halls, or around a meal, was central to their utopian ambition. In siting these benches in a gallery context, Cape reflects on the legacy of their communal histories and origin, and establishes a place for dialogue, in support of new forms of exchange. Throughout the exhibition, the Walter and McBean Galleries and Utopian Benches will offer shared seating for formal and informal programs, both for the immediate San Francisco Art Institute community and diverse community groups. In this way, a connection is forged between the intent of the benches and catalyzing ongoing communal and collective activities in the Bay Area. franciscape.com

FRANCIS CAPE (b. 1952, Portugal) lives and works in New York. Cape apprenticed with master carver Dick Reid before receiving his MFA from Goldsmiths College in London. Utopian Benches was originally commissioned by Arcadia University Gallery, Glenside, Pennsylvania. Cape has recently produced public commissions for The High Line, New York; and Prospect.1, New Orleans. His work has been shown at MoMA PS1, New York; the Saint Louis Art Museum; The Aldrich Contemporary Art Museum, Ridgefield, Connecticut; and by the Public Art Fund, among many other venues. In 2010, he received the Pollock-Krasner Foundation Grant. The exhibition is accompanied by We Sit Together: Utopian Benches from the Shakers to the Separatists of Zoar, published by Princeton Architectural Press. Utopian Benches is loaned from the collection of Nion T. McEvoy. Special thanks to Murray Guy, New York.

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WRONG’S WHAT I DO BEST APRIL 24–JULY 26, 2014 Reception: Saturday, April 26, 7–10 pm CURATED BY HESSE McGRAW AND AARON SPANGLER “A diamond is a diamond, and a stone is a stone, but no man is all good or all bad.” –Johnny Cash, quoting a Roy Orbison lyric, to introduce David Allan Coe

The exhibition Wrong’s What I Do Best takes its title from what was originally a George Jones anthem, and later a catchall for a generation of Hard Country performers. Jones and his outlaw brothers—Johnny Paycheck, David Allan Coe, Hank Williams—were known equally for their crafted stage personas and unhinged private lives. These sincerely deluded, tragicomic figures inhabited characters of their own making, to personal peril and kindling for public legend. …desire is everywhere present in my paintings. I’m interested in the liberating aspect of being totally untethered, let loose in the worst possible environments. My favorite artists are always women that do things that are so wrong… I like things to be seven kinds of wrong. If they are seven kinds of wrong, sometimes the wrongs neutralize themselves, and the whole thing becomes…” –Ashley Bickerton

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Wrong’s What I Do Best gathers the selfsearing impulses of artists and musicians playing the role of one’s self as someone else. Working against both correctness and failure, Wrong’s What I Do Best revels in repeated derailments to present the work of artists who prod the edges of our world. Some unearth scorched histories or upset “natural” order, while others fling themselves headlong into the coming apocalypse. Collectively, their low-irony tilt toward social, political, and personal fault lines might be characterized by illicit unrestraint, yet their lack of critical judgment occludes the artists’ true selves. In the torrid gap between the artist-person and the artist-persona we are reminded that one shouldn’t let the truth get in the way of a good story.

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VI SIT I N G A RTI STS AN D S C H OL A RS FREE LECT U RE S E R I E S & O PE N TO THE PU BLIC

SFAI LECTURE HALL | 800 CHESTNUT STREET | 7:30 PM The Visiting Artists and Scholars Lecture Series (VAS) provides direct exposure to major figures in international contemporary art and culture.

VAS SOCIAL HOUR Join SFAI for a reception in the SFAI Café from 6:30–7:30 pm before the lectures. The Walter and McBean Galleries are open until 7:30 pm on lecture nights.

SIMONE LEIGH Wednesday, February 5 Simone Leigh engages in an object-based, sculptural exploration of black female subjectivity. Her ongoing ethnographic practice, informed by both ancient African and African American object-making, bridges abstracted forms with iconic images. In projects that include terracotta and porcelain female busts, large-scale installations, and performances, Leigh brings a remarkable sense of craft and a potent investigation of female identity to Afro-futurist tableaux. She presented a solo exhibition at The Kitchen, New York, and received a Creative Capital Grant in 2012. simoneleigh.com

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JILL MAGID Wednesday, February 12 Jill Magid forges intimate relationships within bureaucratic structures—flirting with, seducing, and subverting authority. Her projects probe seemingly impenetrable systems, such as the NYPD, the Dutch Secret Service, surveillance systems, or, most recently, the estate of architect Luis Barragán, infiltrating and unsettling these forms of power. Her performances and exhibitions have been commissioned and presented by the Whitney Museum, New York; Tate Modern, London; UC Berkeley Art Museum; and the New Museum, New York; among other venues. jillmagid.net

W E N DY W H I T E Tuesday, February 18 Winifred Johnson Clive Foundation Distinguished Visiting Fellow for Interdisciplinary Painting Practices

Wendy White is critically hailed for work that expands the parameters of painting through the use of multiple canvases, sculptural additions, and site-specific installation. Frequently inspired by the visual cacophony of her neighborhood of Chinatown in New York City, her works contain dense accumulations of natural and synthetic materials, atmospheric color, digital and analogue marks, and fragments of text. In February 2014, White will be included in Fútbol: The Beautiful Game, curated by Franklin Sirmans at Los Angeles County Museum of Art. wendywhite.net

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ALICE CHANNER Thursday, February 27 Trafficking in a subtly surreal sense of illusion, British artist Alice Channer makes hard materials, such as marble and steel, appear malleable and fluid, and brings a complex sculptural presence to flat images. Her works, which often take the form of photographs printed on long narrow bolts of fabric, cascade from ceilings in cavernous rooms or undulate on the floor. Channer recently realized a major installation for the 55th Venice Biennale, Il Palazzo Enciclopedico (The Encyclopedic Palace). lisa-cooley.com/artists/alice-channer

KARIN SANDER Tuesday, March 11 Karin Sander’s conceptual works range from barely-there interventions to vibrant, encompassing installations. Her discursive practice focuses our attention on seemingly inconsequential aspects of the exhibition site and to the hidden systems that surround gallery visitors. In Core Drillings (2011), Sander replaced the trashcans in the administrative offices above the gallery with holes, slowly filling an otherwise empty exhibition space with workday detritus. Based in Berlin and Zurich, Sander has presented solo projects at the Museum of Modern Art, New York, and Skulptur Projekte, Münster, Germany. karinsander.de

TERRY WINTERS Monday, March 24 Terry Winters is widely regarded for layered, biomorphic abstractions that evolved from his early Minimalist work developed alongside fellow New Image painters. In the 1970s, these artists rejected the strict reductionism of Minimalism and returned to figurative compositions. Winters’s vigorous style combines physical gestures and psychologically loaded images, resulting in paintings that are rich in ambiguity and allusion. Winters recently presented a survey exhibition at the Irish Museum of Modern Art, Dublin. matthewmarks.com/new-york/artists/terry-winters

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Winifred Johnson Clive Foundation Distinguished Visiting Fellow for Interdisciplinary Painting Practices

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JOHN MILLER Monday, March 31 Winifred Johnson Clive Foundation Distinguished Visiting Fellow for Interdisciplinary Painting Practices

Throughout his career, John Miller has pursued an ambitious and cross-disciplinary investigation into so-called middlebrow culture and artifice-laden consumer societies. His recent relief sculptures and installations feature gilded junk—found Styrofoam, plastic objects, and discarded wood tables overlaid with gold leaf. The works reference the decadence of our current moment and speak to the instability of cultural and economic excess. He has presented major exhibitions at Museum Ludwig, Cologne, Germany, and Kunsthalle Zurich, Switzerland. lownoon.com

IÑIGO MANGLANO-OVALLE Thursday, April 3 Iñigo Manglano-Ovalle is an internationally recognized conceptual artist known for his activist-inspired public works. Manglano-Ovalle creates technologically advanced pieces that crystallize complex political and cultural narratives into iconic, beautiful forms—a thundercloud, an iceberg, Mies van der Rohe’s architecture, or a fictitious Iraqi biological weapons truck. His work prompts singular experiences from inverted utopias, refabricated images of war, and the insurgence of Modernism. Manglano-Ovalle’s numerous awards include a United States Artists Fellowship and a MacArthur Foundation Award. inigomanglano-ovalle.com SFAI.EDU/EVENTS

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JAMES BENNING Tuesday, April 8 A pivotal figure in experimental filmmaking for over 40 years, James Benning’s primary subject is the expansive and complex American landscape. His most recent work centers around two cabins that he replicated on his property in the Sierra foothills: Henry David Thoreau’s shelter from Walden Pond and Ted Kaczynski’s plywood shack—iconic American structures that seemingly represent utopian and dystopian poles. The resulting film Two Cabins (2011) layers perspectives and articulates intoxicating connections between the two structures.

BASIL TWIST Thursday, April 24 San Francisco–native Basil Twist has established himself, over a 20-year career, as one of the foremost puppeteers in the United States. Twist is renowned for having advanced new techniques and genres of performance that bring puppeteering into the realms of contemporary theater and visual art. Through both technical innovation and poetic force, his works conjure iconic worlds on the stage. Twist is the Mohr Visiting Artist at Stanford University for Spring 2014. basiltwist.com

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GRA D U ATE L ECT U RE S E R I E S

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SFAI LECTURE HALL | 800 CHESTNUT STREET | 4:30 PM The Graduate Lecture Series (GLS) enables students and the general public to engage with emerging and established artists, curators, critics, and historians from local and international art communities.

KAREN FINLEY TRAUMA AND CREATIVITY Friday, February 7 Karen Finley is known for incendiary and emotionally complex works that span the mediums of performance, music, photography, video, and installation. Her raw, transgressive pieces have provoked controversy and debate on themes of social injustice, sexual politics, and family dysfunction. In 1998, she was the plaintiff in a contentious Supreme Court case Finley v. NEA that focused on public funding and the arts—a situation that brought her work to wide audiences and unexpected contexts. Finley received both an MFA and an honorary doctorate from SFAI. karenfinley.com

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JULIO CÉSAR MORALES

LOS HALFIES Friday, February 21 Employing a range of visual strategies, Julio César Morales explores issues of migration, underground economies, and labor on personal and global scales. From a series of indelible watercolors diagramming human trafficking to the historical reenactment of a famous meal, his work engages complexities of social interactions and political perspectives. Morales was the founder/director and co-curator of Queens Nails, an artist-run project space in San Francisco, and is currently the curator of visual arts at Arizona State University Art Museum. gallerywendinorris.com

H E S S E M c G R AW THE RADICAL NORMALCY OF ARTISTS Friday, March 7 Hesse McGraw is Vice President for Exhibitions and Public Programs at SFAI. His current research posits that artists are the normal ones among us—their radical normalcy brings something new to the world. McGraw was previously chief curator of the Bemis Center in Omaha, where he commissioned and developed over two dozen exhibitions and projects, including major public initiatives by Theaster Gates and Michael Jones McKean. McGraw will share upcoming exhibitions and initiatives of SFAI, and further propose curatorial strategies to expand the agency of artists. sfai.edu/exhibitions-and-public-programs

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M A R C E LO C I D A D E YOUR NORTH SURREALISM ISN’T OUR SOUTH REALISM, or WHAT IS TRANSGRESSION TODAY? Friday, March 28 Marcelo Cidade creates uncanny situations, which appear as if by chance, in quotidian urban contexts. His process is that of a trickster or playful interventionist, and his actions produce subtle and poetic transformations in his home city, São Paulo, and similar public environments. Although his works may appear materially or conceptually off-handed, they are formally rigorous, politically loaded, and amplify one’s awareness of the specific thrills of urban space. galeriavermelho.com.br

RICHARD MEYER SISTER CORITA'S SHOP RITE Friday, April 4 Richard Meyer’s research and writings on modern and contemporary art focus on the ongoing debate over sexuality and gender, its effects on art and visual culture, and censorship and the public sphere. In lucid prose, he has addressed queer perspectives, key feminist artists, and Andy Warhol’s fascination with Jews. His recent book What Was Contemporary Art? redefines “the contemporary” as a condition of being alive to other moments, artists, and objects. Meyer is Professor of Art History at Stanford University.

T I M OT H Y B E R R Y A CURIOUS RECOGNITION Friday, April 11 Painter and printmaker Timothy Berry’s most recent work continues a lifelong investigation of mankind’s contentious, yet appreciative relationship to nature. Utilizing motifs from natural landscapes, he generates implied narratives of a paradise lost and flirts with patterned abstraction. His collaborative printmaking workshop, Teaberry Press, has worked with over 250 artists to create new projects since 1974. Berry is Associate Professor at SFAI. timothyberryart.com SFAI.EDU/EVENTS

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J E N N I F E R D OY L E

THE FIST: NOTES ON AN ATHLETIC GESTURE Friday, April 18 Jennifer Doyle is the author of Hold It Against Me: Difficulty and Emotion in Contemporary Art (Duke, 2013) and Sex Objects: Art and the Dialectics of Desire (University of Minnesota, 2006). She explores athletic, physical, and sporting practices in contemporary art, and contrasts the access they give us to languages of struggle and flight with other ways of being and moving through the world. Doyle is Professor of English at University of California, Riverside, and a 2013–14 Fulbright Distinguished Chair at the University of the Arts, London. thesportspectacle.com

ALFREDO JAAR IT IS DIFFICULT Friday, April 25 | Special time » 7:30 pm Alfredo Jaar is one of the foremost practitioners of a social, integrated art practice. His public works simultaneously question the efficacy of art to produce social change, and generate authentic transformation in diverse contexts. Since the early 1980s, Chilean-born Jaar has created incisive installations, photographs, films, and community-based projects that produce new ways of seeing subjects, such as homelessness in Montreal, the holocaust in Rwanda, and gold mining in Brazil. His work is noted for its power to establish unexpected platforms of cultural impact and to re-engage desensitized Western audiences with global inequities. alfredojaar.net

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SFAI YE A R -E N D CELEBRATI ON S

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MAY 12–18 For one week in May, the work of nearly 100 emerging artists and scholars will be on display via the highly anticipated MFA exhibition, Principal; the curated film screening, Principal: The Moving Image; the interdisciplinary Thesis Symposium; and SFAI’s annual Commencement Ceremony.

PRINCIPAL MFA Exhibition The Old Mint | 88 5th St Friday, May 16 Located at The Old Mint, a National Historic Landmark in downtown San Francisco, SFAI artists will transform the venue with installations in spaces including the old bank vaults, ballrooms, brick-lined hallways, interior courtyards, outdoor areas, and every crevice between. The exhibition annually garners critical attention for its dynamic presentation of multidisciplinary work and its relevance to the future of contemporary art.

“[SFAI’S 2013 MFA EXHIBITION] OFFERED DIVERSE AND INSPIRED EXPRESSIONS OF POSTMODERNITY. WHICH IS TO SAY: HOPE FOR THE FUTURE.” –DAVID M. ROTH, SQUARECYLINDER

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PRINCIPAL: THE MOVING IMAGE Screening of Time-Based Work Principal: The Moving Image presents a curated screening of moving-image media from emerging artists across disciplines, with explorations ranging from narrative films and short videos to digital animations and pioneering hybrids of sound/image.

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MA THESIS SYMPOSIUM SFAI Lecture Hall | 800 Chestnut Street Engaging a diverse and interdisciplinary range of topics across global contemporary art practices, the MA Thesis Symposium represents the capstone of a two-year process of research, critical inquiry, and writing, and presents the emerging generation of SFAI scholars to the Bay Area academic community. Moderated by Claire Daigle, Chair, MA Department.

COMMENCEMENT Saturday, May 17 Join SFAI in celebrating the accomplishments of its graduating BFA, BA, MFA, MA, and Dual Degree MA/MFA artists and scholars in the 2014 Commencement Ceremony. The Honorary Doctorate of Fine Arts and the Douglas MacAgy Distinguished Achievement Award will be awarded at the ceremony to individuals who have made inspiring contributions to the visual arts; the recipients will address the class of 2014 and the public. RECENT AWARDEES: Kathryn Bigelow (2013)

Nalini Malani (2010)

Paul Schimmel (2013)

Ruth Braunstein (2010)

Roberta Smith (2012)

Graciela Iturbide (2009)

Lawrence Ferlinghetti (2012)

Ed Ruscha (2009)

David Goldblatt (2011)

Thelma Golden (2008)

Paul Sack (2011)

Hans Haacke (2008)

Huang Yong Ping (2010)

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PRECOLLEGE PROGRAM J UNE 22–JULY 25

SFAI’s five-week PreCollege Program gives students completing the 10th, 11th, or 12th grade the opportunity to be immersed in a tight-knit artists’ community, while getting a feel for college life, earning six college credits, creating artwork, and making lasting connections with artistic peers, as well as the broader Bay Area art community.

» Accepting applications beginning January 2, 2014 » Application deadline May 1, 2014 » Scholarship and international student application deadline April 1, 2014 SFAI.EDU/PRECOLLEGE CONTACT precollege@sfai.edu | 415.749.4554

YOUNG ARTIST P R O G RA M ( YA P ) J ULY 28–AUGUST 15

YAP offers growing artists ages 13–15 a three-week summer program filled with creative exploration, skill building, and fun in an energetic arts environment. » Register beginning January 15, 2014 SFAI.EDU/YAP CONTACT yap@sfai.edu | 415.749.4554

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PUB L I C E DUC ATI ON WELCOME TO » OFF-KILTER JOURNEYS / SKILL BUILDING / RADICAL EXPERIENCES / EDUCATIONAL EXPERIMENTS SFAI invites artists and creative individuals to join noncredit evening and weekend classes ranging from skill-based courses to advanced conceptual exercises and artist-driven experiences in SFAI’s legendary studio environment. WHAT’S NEW FOR SPRING 2014 » » Expanded course offerings (25 courses to choose from) » Artist-driven experiences, off-site adventures, bold twists on the classics, and conceptual explorations » Flexible schedules with varying session durations (from two-day intensives to semester-long courses)

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TAKE A GLIMPSE AT SOME OF THE EXCITING COURSES USHERING IN THE NEW PUBLIC EDUCATION SEASON » ART-MAKING ON THE EDGES OF TIME Alexis Amann 6 Sessions » Tuesdays, March 18–April 22 | $250 COMMUNAL PROJECTS, COMMUNITY COLLABORATIONS Mads Lynnerup 5 Sessions » Wednesdays, February 12–March 12 | $185 INTRODUCTION TO PHOTOSHOP Elizabeth Cunningham 6 Sessions » Tuesdays, March 18–April 22 | $250 PRODUCING A BODY OF WORK IN THE EXPANDED FIELD OF PHOTOGRAPHY Tim Hyde 12 Sessions » Saturdays, February 1–April 26 | $480 THE DRIFTER’S GUIDE TO URBAN FIELD RECORDING Blake McConnell 6 Sessions » Saturdays, March 15–April 19 | $250 THE STRUCTURED ACCIDENT: FIVE-DAY PAINTING INTENSIVE Allison Miller 5 Sessions » Monday–Friday, March 17–21 | $530

Courses range in price from $160–$480 depending on the number of sessions. View the full schedule online and register today » SFAI.EDU/PUBLIC-EDUCATION

RECEIVE 15% OFF TUITION WITH CODE 5264. CONTACT

publiceducation@sfai.edu 415.749.4554

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IMAGE CREDITS » COVER Karin Sander Museum Visitors 1:8, Labor K20, 2010 3D body scans of living people in the color of their choice, monochrome 3D printing, and plaster Scale: 1:8; Height: 4–9 inches each Courtesy of K20 North RhineWestphalia Art Collection, Düsseldorf Installation view, K20 Kunstsammlung NordrheinWestfalen, Düsseldorf Photographed by Achim Kukulies WALTER AND McBEAN GALLERIES Francis Cape Utopian Benches, 2011–2012 Poplar, 17 benches; dimensions variable Collection of Nion T. McEvoy, San Francisco Francis Cape Utopian Benches, 2011–2012 Installation view, Arcadia University Art Gallery, Glenside, Pennsylvania Poplar, 17 benches; dimensions variable Courtesy of Greenhouse Media Collection of Nion T. McEvoy, San Francisco Berry van Boekel David Allan Coe, 2010 Ink and pencil on paper 5 x 6 inches Courtesy of the artist VISITING ARTISTS AND SCHOLARS Simone Leigh No Face #2, 2013 Terracotta, India ink, porcelain, and epoxy 12 x 8 x 10 inches Courtesy of Gallery Wendi Norris, San Francisco Jill Magid Trust (Evidence Locker), 2004 DVD, edited CCTV footage, and audio 18 minutes Courtesy of the artist and Galerie Yvon Lambert, Paris

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Wendy White Green Brigade, 2013 Acrylic on canvas, wood, and inkjet print on vinyl 74.5 x 214.5 inches Courtesy of the artist and David Castillo Gallery, Miami Alice Channer Tzunami, 2013 Digital print on heavy crepe de Chine, cast and mirrorpolished aluminum, chrome bar, and cables 486.61 x 55.71 x 298.03 inches Courtesy of the artist; The Approach Gallery, London; Kunstverein Freiburg, Germany; and Lisa Cooley, New York Photographed by Marc Doradzillo Karin Sander Kernbohrungen (Core Drillings), 2011 Wastepaper from five offices of the Neuer Berliner Kunstverein; five holes in the floor of the offices and in the ceiling of the exhibition space Holes: 11.8 inches diameter, each Courtesy of the artist Photographed by Jens Ziehe Terry Winters Tesselation Figures (1), 2011 Oil on linen 80 x 76 inches Courtesy of Matthew Marks Gallery, New York John Miller American League, 2013 Acrylic on wood 45 x 48 x 1.5 inches Courtesy of the artist Iñigo Manglano-Ovalle Gravity Is a Force to Be Reckoned With, 2010 Installation view, MASS MoCA, North Adams Mixed media Dimensions variable Courtesy of the artist James Benning Stemple Pass, 2012 Single-channel HD video (color/sound) 122 minutes Courtesy of the artist and neugerriemschneider, Berlin Basil Twist and Lee Nagrin Behind the Lid, 2007 Documentation of performance at Silver Whale Gallery, New York Courtesy of the artist

San Francisco Art Institute

GRADUATE LECTURE SERIES

SFAI YEAR-END CELEBRATIONS

Karen Finley Open Heart, 2012 Ceramics Dimensions variable Photographed by Paul Nebenzahl

2013 MFA Exhibition: Currency Barry McGee interacting with work by Tamra Seal Photographed by Alessandro Mello

Julio César Morales Undocumented Intervention #17, 2011 Watercolor on paper 20 x 30 inches Courtesy of the artist and Gallery Wendi Norris, San Francisco Michael Jones McKean The Rainbow: Certain Principles of Light and Shapes Between Forms, 2012 Site-specific installation at Bemis Center for Contemporary Arts, Omaha, Nebraska Photographed on June 24, 2012 Courtesy of the artist and Bemis Center for Contemporary Arts Marcelo Cidade Imóvel, 2004 Object 78.74 x 39.37 x 19.68 inches Photographed by Edouard Fraipont Richard Meyer Cover of What Was Contemporary Art? MIT Press, 2013 Courtesy of the author Timothy Berry Scare the Crow, 2013 Oil, asphaltum, acrylic pigment, and toner on paper 40 x 30 inches Courtesy of the artist Heather Cassils with Eric Charles Becoming an Image Performance Still No. 2, ONE National Archives, Transactivations, Los Angeles, 2012 Performance still 30 x 45 inches Courtesy of the artist Alfredo Jaar The Geometry of Conscience, 2010 Public intervention Dimensions variable Courtesy of the artist

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2013 MFA Exhibition: Currency Viewers interacting with work by John Steck Jr. Photographed by Alessandro Mello 2013 MFA Exhibition: Currency Performers at the opening Photographed by Alessandro Mello PRECOLLEGE AND YOUNG ARTIST PROGRAMS PreCollege Workshop: Mural painting in Balmy Alley, 2013 Photographed by Emily Shallman Young Artist Program (YAP) students at work in the SFAI Courtyard Photographed by SFAI staff PUBLIC EDUCATION Allison Miller Lean, 2013 Oil, acrylic, and dirt on canvas 60 x 48 inches Courtesy of Robert Wedemeyer and Susan Inglett Gallery, New York Tim Hyde Untitled (Monument) SV09, SV10, SV11, 2013 Photo collage on plexiglass 16.5 x 24.5 inches Courtesy of the artist


SFAI Public Programs » Spring 2014