san francisco art institute M FA / M A A R T A N D I D E A S
san francisco art institute M FA / M A A R T A N D I D E A S
â&#x20AC;&#x153;The role of the artist is to bang your head against the wall for the rest of your life. The easy part is banging your head . . . The hard part is finding the right wall.â&#x20AC;? Artist A L H A N S E N , speaking to students at the San Francisco Art Institute
San Francisco Art Institute Graduate Programs ÂŠ 2012 San Francisco Art Institute San Francisco, CA 94133 All rights reserved. No part of this book may be reproduced without the written permission of the publisher. ISBN 978-0-930495-02-2 Charles Desmarais, President Jeannene Przyblyski, Vice President and Dean of Academic Affairs Espi Sanjana, Chief Operating Officer Cynthia Colebrook, Vice President of Institutional Advancement Elizabeth Oâ&#x20AC;&#x2122;Brien, Vice President of Enrollment Claire Daigle, Director of MA Programs Tony Labat, Director of MFA Programs Claire Daigle and Allan deSouza, Co-Directors of Low-Residency Graduate Programs Zeina Barakeh, Director of Graduate Administration Ian Kimmerly, Director of Graduate Operations Vera Kachouh, Graduate Office Manager Bernadette Bellomo, Graduate Center Assistant Manager Milton Freitas Gouveia, Graduate Center Evening Coordinator Admissions 415.749.4500 firstname.lastname@example.org www.sfai.edu
Table of Contents Letter from Charles Desmarais, President
“Living a Gainful Life” Jeannene Przyblyski, Vice President and Dean of Academic Affairs
History of the San Francisco Art Institute
M A STER OF FI NE A RTS
A R T I S T PA G E S
“A Temporary Laboratory” Tony Labat, Director of MFA Programs Graduating MFA Students
M A STER OF A RTS
T H E SIS PROJ EC T S
“Some of the Most Important Things We’ve Tried to Teach You and/or Learn from You During Your Time at SFAI” Claire Daigle, Director of MA Programs and Co-director of Low-Residency Graduate Programs Graduating MA Students
MA Collaborative Project: The Mid-Market Art Project (MAPP) presents Storied Sites: Architecture, Politics, and People
12 19 21
SELEC T E D PROJ EC T S
ON- CA MPUS E X HIBIT IONS A N D LEC T U R ES
Diego Rivera Gallery
Walter and McBean Galleries Lecture Series
Remarks on Mongreloid (1978) by George Kuchar Jeannene Przyblyski, Vice President and Dean of Academic Affairs
Board of Trustees
Studio of Ji In Kwak
Letter from the President For the SFAI community, May is a mixed-emotion time of endings, beginnings, and reflection. The graduate capstone projects and events mark our students’ proud exit from SFAI and entry into the broader art world, but also prompt us to look back, noting the many transformations (of both art and self) forged in the crucible of the Institute. Soon, colleagues and friends will separate and embark on the next phases of their lives and careers. Since this has been my first year as President, there are many people whom I’ve only just met and now must send off. During my time at SFAI—and in the diverse and ambitious work showcased in this catalogue—I have seen how this place contains multitudes: there is a gritty, punk rock spirit coupled with sophisticated critical thinking; fierce independence paired with generous collaboration and mentorship; and the coexistence of a truly remarkable history and a commitment to forward progress. But there is a unifying factor. Last spring, when I addressed an assembly in application for this job of President, I talked about the school’s many assets, among them its illustrious history, top-notch faculty, and beautiful environment. But the single greatest asset of SFAI is the place it holds in the hearts of virtually all who have come into its orbit. Alumni, students, professors, staff, the public—even tourists and occasional visitors—have come to share an
extraordinary bond. I, myself, felt it over the decades I visited to attend programs or exhibitions, or to work with artists here in my role as a museum curator. It is the source of tremendous power and the key to this institution’s 140 years of vitality. In a word, this place is beloved. So at the risk of sounding like a cult leader, I say to our new graduates: Once you’ve joined the SFAI community, you can never actually leave it. The modes of thinking and making that you have honed here, the relationships that you’ve developed, and the very essence of this place will stay with you as you close your bright orange door at the Graduate Center or walk out the arched entryway at 800 Chestnut Street. Being an SFAI artist or scholar is a way of seeing the world; it is a way of life. The work contained within these pages is a wonderful beginning to that lifetime adventure. I can’t wait to see what else you all will contribute.
CH A R LES DESM A R A IS
History of the San Francisco Art Institute
For more than 140 years, the San Francisco Art Institute (SFAI) has been a magnet for adventurous artists, and its groundbreaking history encompasses some of the most important art movements of the last century. Standing at the forefront of higher education in contemporary art, SFAI embodies and nurtures a spirit of innovation, risk-taking, and progressive thinking. BEGIN NINGS
SFAI was founded in 1871 by artists, writers, and community leaders who possessed a cultural vision for the West. Built out of a pioneering history, San Francisco was cosmopolitan yet removed from the centers of Europe and New York, and poised to become a hub of creativity and cultural development.
A 1930s sculpture class
In 1874, the San Francisco Art Association launched The California School of Design, which was renamed California School of Fine Arts (CSFA) in 1916 and then the San Francisco Art Institute in 1961. During its first 60 years, influential artists associated with the school included Eadweard Muybridge, photographer and pioneer of motion graphics; Henry Kiyama, whose Four Immigrants Manga was the first graphic novel published in the United States; Sargent Claude Johnson, one of the first African-American artists from California to achieve a national reputation; and Louise Dahl-Wolfe, whose work for Harper’s Bazaar defined a new American style of “environmental” fashion photography. In 1930, Mexican muralist Diego Rivera arrived in San Francisco to paint a fresco at the school’s new campus on Chestnut Street. Elmer Bischoff (lower left), Hassel Smith (on shoulders), David Park (top right, with saw), and Squire Knowles (with hammer) preparing for a 1949 campus party themed “The Unknown” Photographed by Frederick Quandt, Jr.
N EW PROGR A MS A N D N EW QU EST IONS
After World War II, the school became a nucleus for Abstract Expressionist painting, with faculty including Clyfford Still, Ad Reinhardt, Mark Rothko, David Park, Elmer Bischoff, and Clay Spohn. In 1946, Ansel Adams and Minor White established the first fine art photography department in the United States, with Imogen Cunningham,
Edward Weston, and Dorothea Lange among its instructors. In 1947, distinguished filmmaker Sydney Peterson began the first film courses at CSFA, positioning the school as the epicenter of avant-garde film. In this spirit of advancement, in 1949 CSFA Director Douglas MacAgy organized The Western Roundtable on Modern Art, which included Marcel Duchamp and Frank Lloyd Wright, to frame new questions about art. BE AT S , J A Z Z , A N D F U N K
By the early 1950s, San Francisco’s North Beach was the West Coast center of the Beat Movement, and music, poetry, and discourse were an intrinsic part of artists’ lives. A distinctly Californian modern art soon emerged that fused abstraction, figuration, narrative, and jazz. CSFA faculty Park, Bischoff, James Weeks, and Richard Diebenkorn became the leaders of the Bay Area Figurative Movement. Students at the school including William T. Wiley, Robert Hudson, William Allan, Joan Brown, Manuel Neri, Carlos Villa, and Wally Hedrick continued the investigations, becoming the core of the Funk Movement. H Y BR I DS , M U TA N T S , A N D ROBO T S
Renamed the San Francisco Art Institute in 1961, the school was at the vanguard of an expanded vocabulary of art-making that was a hybrid of many practices including performance, new media, graphic arts, and political and social documentary. Among the students in the late 1960s were photographer Annie Leibovitz, performance artist
Paul McCarthy, and Charles Bigelow, who would be among the first typographers to design fonts for computers. Alumni Ruth-Marion Baruch and Pirkle Jones were documenting the early days of the Black Panther Party in northern California. Installation art, conceptual art, video, music, and social activism continued to inform much of the work of faculty and students in the 1970s and ’80s, including George Kuchar, Gunvor Nelson, Howard Fried, Paul Kos, Angela Davis, Kathy Acker, Robert Colescott, and Karen Finley. The school became a hub for the Punk music scene, with bands the Mutants, the Avengers, and Romeo Void all started by SFAI students. Technology also became a part of art practice, as with Survival Research Laboratory, founded by student Mark Pauline, which staged large-scale performances of ritualized interactions among machines, robots, and pyrotechnics. ART IN THE STREETS
Since the 1990s, the studio and classroom have become increasingly connected to the world via public art and community actions. As students at SFAI, Barry McGee, Aaron Noble, and Rigo 23 were part of the movement known as the Mission School, taking their graffiti-inspired art to the streets and walls of the city. Organizations like Artists’ Television Access and Root Division, founded by alumni, and SFAI’s current City Studio program engage and educate local communities and cultivate a vital artistic ecosystem.
R ECE N T ACCOM PLISH M E N T S
SFAI faculty, students, and alumni continue to investigate and further define contemporary art and the role of artists in today’s global society. Their accomplishments can be found in museums and galleries around the world, in bookstores and movie theaters, online, in the civic sphere, and elsewhere: from Catherine Opie at the Guggenheim to Enrique Chagoya at the Berkeley Art Museum to Kehinde Wiley at the National Portrait Gallery; from Kathryn Bigelow’s Oscar-winning The Hurt Locker to Lynn Hershman Leeson’s acclaimed documentary !Women Art Revolution; from Mauricio Ancalmo’s assemblages of old technologies to Jet Martinez’s mural at Facebook headquarters; from the object-based publication THE THING Quarterly to Art Collider, a digital platform for facilitating global media collaborations.
Photographed by Richard Laughlin, MFA 1973
Building on this tradition of excellence and innovation, SFAI remains committed to educating artists who will shape the future of art, culture, and society.
Ann Hamilton indigo blue – 1991/2007 – Cotton clothing, wood and steel platform, wood table and stool, book, and eraser Dimensions variable
Photograph from the 2007 SFMOMA reinstallation San Francisco Museum of Modern Art, Accessions Committee Fund purchase Photographed by Ian Reeves on behalf of SFMOMA © Ann Hamilton Originally commissioned for Places with a Past: New Site-Specific Art at Charleston’s Spoleto Festival Mary Jane Jacob, Curator; Charleston, South Carolina; May 24–August 24, 1991
Living a Gainful Life J E A N N E N E P R Z Y B LY S K I
Vice President and Dean of Academic Affairs
There has been a lot of talk about higher education and “gainful employment” in the news these days as politicians look for something to regulate with less powerful lobbyists than banks or utility companies. Wading through proposed legislation and stories in the Chronicle for Higher Education, I’ve found myself curiously drawn to the word “gainful”—to my ear it sounds like such an old-fashioned and moralizing word. I imagined coming across it in John Bunyan’s The Pilgrim’s Progress or Louisa May Alcott’s Little Women (I checked—it shows up in neither). I looked it up in the Oxford English Dictionary. It basically just means “profitable.” I suppose this definition is also evocative and virtuous to some, but still I’m a little disappointed. It’s not surprising that tough economic times generate pressure to assign a monetary value to nearly everything and to attempt to monetize nearly anything. And certainly at SFAI we think a lot about the value of the education that we offer and how to make it more affordable and accessible—this is a serious concern and a serious challenge to all educational institutions, especially small and personal, “hands-on” art schools such as ours. But we also worry that the demand for a direct correlation between arts education and narrowly defined “gainfulness” threatens to devalue the very premise of what we do here: to ask our students to make a commitment to investigating other values besides mere profit—the value of going beyond necessity, the value of expansive thinking, the richly generative fiction that we might really be able to inhabit, however provisionally, a realm of limitless possibility. And to come to understand the ways in which this commitment to creativity brings with it the development of skills that may be transformational in the practical world as well, especially in our understanding of how human gain and loss is experienced and understood in the largest possible sense. What does it mean for artists and critical thinkers to live gainful lives? What does it mean to work to increase the wealth of ideas and images in the world?
Of beauty or pleasure or awareness or outrage? Of generosity or sheer impracticality? How do artists place themselves in the midst of the tension between laboring acts as affirmative and generative and laboring experiences as numbing and crushingly iterative simulations of productivity? The implications are many, I think, but one of the most fundamental is continuing to value the intangibility, disciplinary intractability, and resistance to quantification of creative learning. This perhaps begins in our classrooms and studios, but must extend beyond them—it’s among the values that we most hope our graduates take with them into the world. Each semester in my critique seminar I ask my students to fill out two surveys. One is a careerbased survey developed for cultural producers that asks practical questions about strengths and achievements, aspirations and priorities. Another is a survey that the mid-20th-century art historian Irving Sandler circulated amongst artists to assess the current state of the art world. I’m always especially heartened by the responses to the careerbased survey’s final question. It asks, “Do you think your goals are attainable?” Most of my students answer “yes.” “Yes!” I think to myself. And then I’m generally disheartened by student assessment of the state of the art world. To be sure, many of their responses are smart and canny, hip and prescient, playful in their resistance to art “authorities,” fluent in their deployment of current catch phrases. But they also tend to be more than a bit cynical—about the undervaluing of precisely the things they most care about in the world that they most want to inhabit. This profound disconnect—between their career aspirations to be responsible members of their community, priortizing friendship and family, open to new experiences and thoughtful about the role of artists and intellectuals in the world at large, and their perception that the art world acknowledges none of these things as valuable—is a pressing question for me. Perhaps the responsibility to redefine gainfulness starts in the world that’s closest to home.
GR A D UAT E P RO GR A M S
Studio of Jessica Asp
Photographed by Joshua Band
Master of Fine Arts (MFA) The Master of Fine Arts program provides a compelling interdisciplinary context for emerging artists to develop and refine their work while engaging the historical, theoretical, sociopolitical, and creative concerns of the contemporary moment. Founded on the principle that critical inquiry and experimentation are at the forefront of contemporary art-making, the program encourages students to use their own questioning to generate a sustained and vital creative practice. The program emphasizes the integration of both formal and conceptual aspects of production, while incorporating new technologies as tools for innovation. In addition to maintaining an independent studio practice, students work one-on-one with faculty in graduate tutorials; participate in small, discussionbased critique seminars; engage with local and international visiting artists and scholars; participate in student-led collaborations, collectives, exhibitions, and curatorial initiatives; and take a minimum of two critical studies and three art history seminars over the course of the two-year program. This crossdisciplinary curriculum prepares students for the demands of art-making in the globalized 21st century. The culmination of the MFA degree is the MFA Graduate Exhibition, which is celebrated for its intellectual rigor and diverse, cutting-edge creative output.
DESIGN A N D TECH NOLOGY
The graduate program in Design and Technology fosters innovative conceptual strategies through which students are prepared to intervene meaningfully in the world. The program is oriented toward broad research strategies that are collaborative and forward lookingÂ by bringing togetherÂ the ideas we live by with the things we live with. Students work at the intersection of studio and academic disciplines using iterative prototyping to create challenging projects. Prototyping encourages the development of a materiality in the curriculum that deconstructs the relationship between form and function and joins artistic practice with critical and unique conceptual approaches to the economies of industrialization, commerce, and distribution. FILM
Graduate film students at SFAI are actively involved in challenging assumptions about the synergies between materiality, technology, and representation through filmic and digital means. A pioneering presence in experimental film, the school builds on this tradition of innovation by continuing to integrate new technologies, explore contexts of distribution, and rethink the boundaries between film and other storytelling media.
Studio of Nick Wildermuth
Master of Fine Arts (c on t in u ed) NEW GENR ES
The New Genres department has its roots in the major conceptual and disciplinary shifts of the late 1960s and early 1970s, with the proliferation of video, performance, and site-specific art. Conceptually driven, with a core value of experimentation, the program continues to attract thinkers and shape-shifters—people who want to break boundaries between technologies and disciplines and create an exciting hybrid practice in which life itself can be art. PA I N T I N G
The Painting department is dynamically situated between a legacy of important artists and movements that have been based at SFAI, and the wide range of possibilities available to contemporary painters. Students work to visually articulate their technical, formal, aesthetic, narrative, and emotional concerns, and are challenged to become risk-takers who continually push the physical and conceptual limits of the painting medium. PHOTOGR A PH Y
SFAI’s Photography program asks students to unite strong ideas, technical mastery, and personal meaning, emphasizing the complexity and possibilities of this evolving medium. Graduate students work in both analog and digital formats,
taking approaches from personal narratives to documentary work to experimental abstractions. Understanding that the visual language of photography is central to the contemporary world, SFAI’s program considers photographs both as formal objects and as modes of communication, documentation, expression, and critique. PR I N T M A K I NG
SFAI’s Printmaking program challenges students to use processes creatively to translate conceptual ideas into print. Drawing on both centuries-old techniques and digital technologies that are adding layers to the medium’s rich history, the program explores how the old and the new can interact in ways that preserve tradition while embracing and creating new paradigms. S C U L P T U R E /C E R A M I C S
SFAI’s Sculpture/Ceramics department hinges on the interplay of the material and the conceptual. Starting from the belief that research is a valid tool along with a hammer, the program emphasizes investigation, critical thinking, and problem solving as central components of artistic development. The department supports work in ceramics, wood, metal, plaster, fabric, and electronics, while also encouraging work informed by areas such as urban studies, sustainability, ecology, architecture, public art, and activism.
Studio of Anna Marie Rockwell
Master of Arts (MA) The Master of Arts degree programs provide a generative context for advanced scholarly inquiry into the major ideas, institutions, and discourses of contemporary art and the sociocultural and political conditions of its production. Working with artists, historians, theorists, curators, practitioners, and thinkers from diverse disciplines, MA students participate in seminars, research and writing colloquia, internships, and travel opportunities. These interdisciplinary offerings prepare the student to identify and pursue an individualized course of study that will culminate in the final research thesis. Notable areas of study include: the influence of media and notions of reproducibility; the role of the artist as social researcher, interventionist, or activist; the influence of globalization; postcolonial theory; psychoanalysis; discourses of multiculturalism; the legacy and currency of feminism; and the lineage of modernism and postmodernism. MA students engage and collaborate with artists from the MFA program, turning research and inquiry into practice. Students also gain practical experience in the arts and broaden the scope of their research through professional collaborations and internships with notable Bay Area arts institutions such as the San Francisco Museum of Modern Art and the Yerba Buena Center for the Arts. The culmination of the MA degree is the completion and public defense of a thesis dissertation as well as the completion of the MA Collaborative Project—an interdisciplinary project that coalesces the major concerns of the students in the program into a multifaceted public work. E X HIBITION A N D M USEU M ST U DIES
The role of art in a broader culture of spectacle is an increasingly pressing challenge for contemporary cultural production and exhibition. Museums, galleries, and other conventional exhibition spaces are not only spaces for collecting and displaying art works, they also serve as laboratories for artistic
experimentation and production, and as sites for creative intervention. Grounded in research and critique, SFAI’s Exhibition and Museum Studies program provides students with the historical, theoretical, and practical understanding necessary to thrive in this complex network of culture production and spatialization. HISTORY A ND THEORY OF CON TEMPOR A RY A RT
The History and Theory of Contemporary Art program provides students with an in-depth and critical understanding of the history of the ideas, conditions, institutions, and discourses surrounding contemporary art and culture, and how these inform the study, interpretation, analysis, and exhibition of art today. The program’s curriculum addresses complex issues such as the interrogation of the hierarchies of artistic mediums initiated by the historical avant-gardes, the globalization of culture, the intersection of Western and non-Western modernity, the role of technology in art-making, and questions of authorship in the practice of contemporary art. UR BA N ST U DIES
The Urban Studies program emerged in response to pressing social issues of contemporary life (increasing urban populations, inequality, migration, new cultural geographies, and the effects of a global economy), all of which are radically transforming cities worldwide. In a fine arts context, the aim of the program is to address these issues through a synergy between academic and studio practice, encouraging students to create work that directly engages urban life, as well as to creatively expand urban methodologies and epistemologies. The program emphasizes the role of visuality in art, modernity, and urbanism; the politics of space and built environments; and the production of various forms of urban knowledge.
Studio of Seulhwa Lydia Eum
Dual Degree MA/MFA The Dual Degree MA/MFA program enables emerging artists to develop and refine their creative work while simultaneously engaging in rigorous study and inquiry into the history and theory of contemporary art. The program recognizes that the contemporary moment requires artists who can respond to the world from a multiplicity of perspectives and who are equipped to engage the political, theoretical, historical, sociogeographical, and creative spheres in equal measure. The Dual Degree MA/MFA is a three-year course of study; graduates receive both an MA in the History and Theory of Contemporary Art and an MFA from a studio discipline (Design and Technology, Film, New Genres, Painting, Photography, Printmaking, or Sculpture).
The theoretical underpinnings of the program are drawn from the philosophies of both the MA and MFA programs, which stress the articulation of ideas in both visual and written forms, and the necessity of challenging inherited modes of analysis and interpretation. Unique to this course of study is the opportunity for students to synthesize the artistic and intellectual facets of their creative production. The culmination of the program is participation in the MFA Graduate Exhibition after the second year of studies, and the completion and public defense of a thesis dissertation, as well as the completion of the MA Collaborative Project, by the end of the third year.
Low-Residency Master of Fine Arts (MFA) The Low-Residency Master of Fine Arts program is ideally suited for artists who wish to develop and refine their work without sacrificing a professional career or other commitment in order to pursue academic study. The program allows students to earn a 60-credit MFA degree over a period of either three or four years through a combination of intensive eight-week summer sessions and independent studio practice in their home communities.
The program draws on the same pedagogic and philosophical principles of the full-time MFA program, but enables students to access the rigors of the program from within a flexible course of study. Students work with faculty from SFAI during the intensive summer sessions, and then continue their work independently—with the guidance of an artist from their home community—during the fall and spring semesters. The summer sessions
combine rigorous critiques, art history and critical studies seminars, visiting artist lecture series, and individualized tutorials with faculty to create a balanced studio- and research-based curriculum. Along with a review following the on-site summer session, the Winter Review in San Francisco each January provides students with an additional opportunity to discuss and critique their work with faculty and colleagues in the program. The culmination of the Low-Residency MFA program is participation in the MFA Graduate Exhibition—an exhibition that is celebrated throughout the Bay Area for its innovative, cutting-edge creative output.
Studio of Julia Sackett
Studio of Douglas Graupe Studio of Amanda Klimek (opposite)
M A S T E R O F F I N E A R T S / A R T I S T PA G E S
Studio of Kenneth Thomas
A Temporary Laboratory T O N Y L A B AT
Director of MFA Programs
The MFA Graduate Exhibition is one of the most exciting times for the San Francisco Art Institute’s Graduate Program; a time when we see in one place the manifestation of two years of labor, sacrifice, and commitment by a new generation of artists ready to contribute to and make their marks on the landscape of contemporary art and culture. This year, we’re very pleased to host the exhibition at the Phoenix Hotel. The Bay Area has always been at the forefront of artists and curators seeking alternative spaces for exhibition and production, and these off-site venues were key in questioning the role of the container and conventional norms. From the artist-run spaces of the seventies to public interventions in social spaces and the streets, billboards, empty storefronts, and punk clubs were seen as potential sites for public discourse. This exhibition continues a long tradition that today is seen internationally. In fact, the day after graduation, thirteen students from SFAI’s Graduate Program will get on a plane to participate in the Havana Biennial, which this year takes place in alternative and off-site spaces throughout the city. I’m often asked to describe the Graduate Program at SFAI, and there’s something to be said about the size of the program that separates it from the rest. What it provides for the candidate is a truly multicultural, interdisciplinary environment, with students from all over the world working in every
conceivable medium and form. Mirroring the experience of the artist within a global world, the diversity of approaches and aesthetics challenges all of us within this community to appreciate and learn from the coexistence of multiple forms of production; navigate each individual’s cultural experiences, content, and concerns; and develop a common language to talk about the output of forms. When students graduate from SFAI, some go back to their hometowns and homelands equipped with a new set of tools and knowledge, some venture out into new territories and cities, and others stay here in the Bay Area committed to the continuing tradition of San Francisco art and culture. Those that are interested in teaching take with them a unique pedagogical foundation derived from both our Studio Practice and Interdisciplinary programs. All in all, each year produces a community ready to go out into the world and be part of the extended family of artists, thinkers, curators, and producers who have come out of this important institution and continue to impact the art world and culture at large. Above all, the MFA Graduate Exhibition celebrates a journey. I congratulate the members of the graduating class of 2012, who have made these last two years a memorable experience and this year’s exhibition an amazing gathering of art and experimentation.
Untwisted and slightly arched lead-in groove and run-out groove from “The Twist,” 7 inches (A-side) on Cameo Parkway Records (P-824) by Chubby Checker (1960). Lead-in groove length 45 inches. Run-out groove length 15.94 inches and un-twisted and slightly arched lead-in groove and run-out groove from “Let’s Twist Again,” 7 inches (B-side) on Columbia Records (45-DB 4691) by Chubby Checker (1961). Lead-in groove length 39.13 inches. Run-out groove length 19.88 inches. – 2011 – 0.05 mm. pen on paper 74.5 x 59.5 inches
born San Francisco, California, 1986
education BA in Fine Arts, University of California, Los Angeles, 2008 MFA, San Francisco Art Institute, 2012
As an artist, I am drawn to the aesthetics of mass media and material culture. I enjoy the vibrant, eye-catching colors and designs that give objects commodity value and that imply elevated social status. By repeating the simple forms of the gold chain and the gemstone, I am able to render them realistically in an arrangement of my choosing and entirely from imagination. To me, this process results in a symbolic ownership of the object; my goal is to convey wealth and excess within the picture plane.
Materialism – 2011 – Paint pen and mixed media on canvas 48 x 48 inches Things – 2011 – Marker on newsprint 24 x 24 inches Greed – 2011 – Paint pen and spray paint on canvas 60 x 48 inches
JESSICA ASP born Knoxville, Tennessee, 1983
education BFA in Fine Art, Ringling College of Art and Design, 2010 MFA, San Francisco Art Institute, 2012
My formal training in imagebased computer science domains and work for institutions such as NASA and the National Science Foundation has informed my interest in the devices and modes of perception. My work questions and traverses the boundaries between reality and fiction, encompassing photographic play with surrealist theatrical landscapes, contemporary still life photography presented within the framework of historical vanitas painting, deadpan portraiture relying on and exposing commercial photographic practices, and the diorama as an overwhelming sensory and immersive experience. Manipulations such as artificial lighting, a heavy directorial hand, and postproduction tools allow “the false” to subversively camouflage itself as “truth.”
White Room – 2009 – Archival inkjet print 20 x 30 inches Act II – 2011 – Backlit archival inkjet print 40 x 60 x 8 inches
JOSH UA BA N D
born Atlanta, Georgia, 1978
education Post-Baccalaureate Certificate in Photography, San Francisco Art Institute, 2010; BS in Computer Science, University of Michigan, Ann Arbor, 2002 MFA, San Francisco Art Institute, 2012
Some years ago I saw an elk lying on a field and for an incredibly terrifying and fascinating minute I thought I was faced with a giant rabbit. This is how I want art to be: overwhelming and unsettling, with a heart.
Knife â&#x20AC;&#x201C; 2011 â&#x20AC;&#x201C; Acrylic, ink, watercolor, and collage on paper 123 x 90 inches
www.elinbengtson.tumblr.com born Halmstad, Sweden, 1981
education BFA, Valand School of Fine Arts, University of Gothenburg, 2009 MFA, San Francisco Art Institute, 2012
My artwork fuses craft and fine art to explore the possibilities of inhabiting the gallery space with forms inspired by everyday, banal artifacts from the female domestic sphere. I use crochet—traditionally a female pastime—to create whimsical objects and environments that function as social commentary. Whether taking the form of giant red doilies nailed to the wall, thousands of crocheted flowers in a room, or disembodied silicon breasts with crocheted nipples, the works invite viewers to contemplate topics ranging from the place of the handmade in a digital society to female body enhancement and selfdestructive coping mechanisms.
To Live is to Leave Traces – 2012 – 4,000 crocheted flowers in various yarns Dimensions variable
A S H L E Y V. B L A L O C K
born San Diego, California, 1978
education Skowhegan School of Painting and Sculpture, 2009; MA in Art History, University of California, Riverside, 2005; BA in Painting and Printmaking, San Diego State University, 2000 MFA, San Francisco Art Institute, 2012
I work with personal boundaries by holding a pose in my surroundings. There is a limit to control of the content based on my participation on both sides of the camera. Emphasis is on the physical act, a component to form that involves a fixation of tension to the sensation of release. The image is a translation of what comes to mind when I lock into a particular place.
Neighbor – 2011 – Archival inkjet print 12.75 x 19 inches Shoots – 2011 – Archival inkjet print 12.75 x 19 inches
L I N D S AY L . B LY
born Los Angeles, California, 1982
education Post-Baccalaureate Certificate in Photography, San Francisco Art Institute, 2010; BFA in Studio Art, University of Arizona, 2005 MFA, San Francisco Art Institute, 2012
My drawings and paintings are site-conditioned and evidence of a distillation of contextual observations through a lens of architectural ideas. Through an analytical process, I respond to environments through spatial and material organization. These investigations are subjective recordings, or appropriations of surroundings and the inherent subtleties therein. Thus, my work encompasses compressed and framed iterations of experiential observations within the environment. They are representations that reflect rhythmic, sequential design decisions while incorporating intuition.
Saw Mill Site Analysis – 2010 – Laser etching, acrylic sheet, museum board, and ink on board 32 x 49 inches Linescape with Blue Strip – 2010 – Pen and powdered pigment on paper 30 x 44 inches
R . M AT T H E W BOL L I NGE R
born Waiblingen, Germany, 1979
education MArch, University of New Mexico, 2010; BFA, University of New Mexico, 2002 MFA, San Francisco Art Institute, 2012
I work mostly with the moving image through video art and video installation, although my art practice also involves objects, site-specific interventions, and various two-dimensional media. My most current art exploration lies at the intersection of violence, mass media, and consumption, together with the mechanisms and theories of human perception. Having to declare my artistic manifesto, I would most likely use the following phrase: I want to believe that someday I will have a chance to ask the Universe a question: “Do you want to fuck?”
Visual Exercises I – 2011 – HD video 29:24 minutes
PIOTR BU JAK born Bedzin, Poland, 1982
education MFA with Honors in Sculpture, Academy of Fine Arts, Krakow, 2009; Certificate in Art Education, Academy of Fine Arts, Krakow, 2009 MFA, San Francisco Art Institute, 2012
I am a girl from an Eastern country, trying to do something maledominated in the Western world. Occupy My Heart views the Occupy Movement in the United States from a Chinese girl’s perspective. It is a narrative film consisting of still photographs, but not a single frame is staged. Cut or Not Cut is a short film made from one long take. It engages notions of female selfconsciousness, cultural conflicts, generational gaps, and the pain of adolescence.
Occupy My Heart – 2012 – Photography, audio, and video 5 minutes Cut or Not Cut – 2011 – HD video 5:51 minutes
born Zhuzhou, China, 1988
education BA in Scenarist-Director of Broadcasting and TV, South China Agriculture University, 2010 MFA, San Francisco Art Institute, 2012
I do not know if I am awake. My eyes are open but I am not sure if what I am seeing is real. I try to listen. My heart is so silent. I cannot stand this silence. I need a noise. I need the beat. I want to dance to the melody; then I can show you that I am alive. Dance and dance. People are watching me. I am ashamed. I am sad. I want to forget about it, but I cannot. I close my eyes and I think. It is fine. Maybe it’s a dream.
Side Combing – 2012 – Ink, acrylic, and watercolor on paper 82 x 40 inches
SU WON CHO born Bucheon, South Korea, 1987
education BFA in Korean Painting, Ewha Woman’s University, Seoul, 2010 MFA, San Francisco Art Institute, 2012
With respect to Duchamp’s glorification, then the reglorification of the readymade and the embrace of material as metaphor, I have asked myself repeatedly: what does an object maker do now? The transformation artists take it one level further, and in order to show the transformation caused by the transformation, I combine the readymade with that which is made from the readymade. With time and attention, using representational and proliferated methods, I transform mundane prefabricated materials to further fold the metaphor onto itself and explore the environment and issues in the life of an artist.
Precious – 2012 – Wood, biodegradable trash bags, and imitation flower 48 x 33 x 5 inches
CORY SU M M ER CLI N TON
born Providence, Rhode Island, 1983
education BA in Studio Art and Education, Brandeis University, 2006 MFA, San Francisco Art Institute, 2012
I see my practice as performative research dealing with notions of memory, orality, and precarity, and addressing intersections between subversive aesthetics and poetical politics. For this process, I have adopted writing, events, objects, sound, and the body as the main materials of my work, through which I seek to expose a palimpsestic textuality. Some of these moments work with an undocumented condition as a form of exploring subjectivities within the production of meaning and nonmeaning. I am interested in the potential phenomena of doing nothing in my artistic praxis, assuming this position as a creative resource of doing—a space of pure possibility and a singular ontological moment. The work Inhabiting is a timeand space-based event that took place in a studio apartment. The event consisted of the action of emptying out all of the elements of daily life, such as furniture, books, clothes, and so forth, and then presenting the empty space for eight hours. Inhabiting – 2010 – Event and text Dimensions variable
PAU L A C O B O
www.paulacobo.biz born Santiago, Chile, 1982
education MFA, San Francisco Art Institute, 2012
My art portrays the shortsighted choices that people make on a daily basis guided by temporality and immediate gratification. Questionable priorities and decisions make us misguided yet completely captivating characters. Drugs, sexuality, and nocturnal adventures drive our youth, while money, affluence, and entitlement influence our later years. My art captures the effects of these imperfect choices. Endearing, humorous, ridiculous, and tragic, the end result is a glimpse into who we are as humans.
This Place is the Pits – 2011 – Oil on panel 96 x 60 inches
RY L A N D COOK
born Exeter, New Hampshire, 1981
education BFA in Painting, University of Southern Maine, 2008 MFA, San Francisco Art Institute, 2012
I am fascinated by the very human world around me, drawn to its inhabitants, perpetually arrested by our impulses and behaviors. I both intentionally and unconsciously appropriate from this constantly shifting—often overwhelming—world, letting the images and experiences of others add to my own understanding of the whole. I remix these pieces to create new realities, using digital collage to build landscapes and narratives in still and moving form. One must ultimately choose whether or not to attempt to decipher these components and investigate the underlying motivations and origins. Art should never be static; it should evolve as we do.
Impulse Collage #1 – 2011 – Digital inkjet print 36 x 36 inches Impulse Collage #3 – 2011 – Digital inkjet print 36 x 36 inches Impulse Collage #4 – 2011 – Digital inkjet print 36 x 36 inches
ELIZA BETH CU NNINGH A M
www.ecphotography.net born Cleveland, Ohio, 1988
education BA in Fine Arts, Concentration in Photography, University of Pennsylvania, 2010 MFA, San Francisco Art Institute, 2012
My work delves into ideas concerning the fibrous connections between inner life and the outside world, with the body as the site of these two differing, often opposing, realities existing in simultaneous continuum. My past work in biology, marine science, and human anatomic pathology comes into play in the concepts and processes of creating alternate anatomies and floods of the body, with a particular emphasis on trauma, memory, survival, and recovery. I am greatly interested in how language and thought are fundamentally metaphorical and that metaphor is a fundamental part of everyday life. The materials that I choose, the behaviors and repetition involved in my making, are integral to my exploration of the biology of meaning.
Strategies for Containment I & II – 2011 – Found military duffle, linen thread, woven kelp, clay, and twine 72 x 36 x 24 inches
born Phoenix, Arizona
education BS in Marine Biology and Limnology, Minor in Art, San Francisco State University, 1995 MFA, San Francisco Art Institute, 2012
I make work that excites me. I use the totemic nature of specific objects and the power of memory to rebuild, reconstruct, and reimagine specific moments in time and bring them into being. I delve into unconventionally cyclical and tedious methodologies of working to uncover roots embedded deep in the psyche. I reenact pivotal memories and recreate objects and phrases imbued with adolescent importance. In doing this, I aim to both celebrate the choreography of everyday life and relieve myself and my subjects of the burden of the very things that most deeply construct our identities.
You Go Gurl – 2012 – Found fabric and pillow stuffing 36 x 324 inches The First Six Kisses of Jennie Lennick – 2012 – HD video 5:03 minutes
L A C Y J . D AV I S
born Monterey, California, 1984
education BFA in Intermedia Studies, Pacific Northwest College of Art, 2010 MFA, San Francisco Art Institute, 2012
I paint photographs. I preserve or introduce the characteristic features of photographs, such as black and white, blurry and out-of-focus images, cropping, color distortions, faded colors, and printing errors. For large paintings, I enlarge a photograph to the size of the planned painting, print it out in 8 and 10 inch sections on ordinary paper on a home printer, tape the sections together, and then paint this mock-up. I paint from life when I paint the photograph as an object, that is, as a computer printout. Because I paint photographs, I paint an image of a subject rather than the subject itself.
Unknown 070 â&#x20AC;&#x201C; 2012 â&#x20AC;&#x201C; Oil on canvas 72 x 48 inches
PA T R I C K J . D O N O VA N
born Washington, DC, 1948
education Post-Baccalaureate Certificate in Fine Arts, Maryland Institute College of Art, 2009; BA in Philosophy, Brandeis University, 1971 MFA, San Francisco Art Institute, 2012
I have a strong interest in anthropology and semiotics and, therefore, my work has an observational perspective of human behaviors, symbols, and signs. Culturally universal symbols are particularly interesting to me in terms of the independent development of the same symbolic ideas, as well as the influence of globalization upon semiotics. My background is primarily in theater, photography, and experimental film (some documentary and traditional narrative as well), and while I have recently been working in a more sculptural and installation mode, film and photography are the media that I work with the most.
Cover Yourself Your Father Might See You – 2010 – Projected Super 8mm film loop and aluminum file storage box 1:11-minute loop Silent Loud – 2011 – Mixed media Dimensions variable
www.anneearhart.com born Madison, Wisconsin, 1979
education Post-Baccalaureate Certificate in Photography, San Francisco Art Institute, 2010; Post-Graduate Certificate, The London Film School, 2002; BA in Theater Directing, Rose Bruford College, 2000 MFA, San Francisco Art Institute, 2012
The concept that I intend to reveal is the possibility of life and consciousness permeating the universe. Since the fundamental component of everything is energy, harnessing it with minimal entropy is critical. I have envisioned various hybrid life forms in which plant and animal life evolve to merge to resolve this problem. Humans are beginning to understand the mechanisms through which everything is connected. I show this through imagery of biological networks that form lattices within the microscopic and extend into the macroscopic.
Birth of Consciousness 1 â&#x20AC;&#x201C; 2010 â&#x20AC;&#x201C; Oil on canvas 72 x 48 inches
born New Orleans, Louisiana, 1979
education MAT in Post-Graduate Studies, George Mason University, 2005; BFA in Painting, George Mason University, 2003 MFA, San Francisco Art Institute, 2012
My work explores narrative in spaces and objects. We have the tendency to impose incidental memories on objects. Then these objects become the subjects of the original memories. I am interested in the desire to possess these fetishized objects. I make houses to contain these memories and desires in order to generate other dialogues. These phenomena are demonstrated through the transparency and fragility of the printed materials.
Loneliness of San Francisco – 2011 – Aquatint and hard ground 12 x 6 inches
S E U L H WA LY D I A E U M
www.seulmin.com born Seoul, Korea, 1980
education Communication Design, Samsung Art and Design Institute, South Korea, 2006; BFA in Asian Painting, Sungshin Women’s University, South Korea, 2003 MFA, San Francisco Art Institute, 2012
I propose a history painting refamiliarization project. My praxis investigates modern ideological narratives by interrogating art historical representations of nationalism, the heroic, the monumental, and the sublime; this is an endeavor that is also an assertion of art’s power to effectively and meaningfully communicate the contemporary moment. Twisting on classic painting and cinematic motifs, my revisualization of marked aerial, geological, and psychological landscapes serves as metaphor for an elided ballet of power.
Notes on a Rock Opera #1 – 2011 – Collage 9 x 7 inches
JOËL FRU DDEN
born Iowa City, Iowa
education BFA in Painting, Boston University College of Fine Art, 2000; Yale Summer School of Music and Art, 1999 Dual Degree MA/MFA, San Francisco Art Institute (projected 2013)
Movement and autonomy are the important aspects of my work; I seek to allow the pieces to exist in conversation both with the viewer and amongst one another. There are no real limits, or boundaries; extremities are suggested. Through joyful, delicate, and performative assemblages, the sculptures focus the viewer’s gaze on familiar and exotic forms in a new language and evoke fragility and ephemerality. I see my sculptures as dancers. The music is the air; we are swimming.
I Saw You, You Had a Cigarette – 2011 – Mixed media 60 x 36 x 24 inches
CHR ISTOPHER FÜLLEM A NN
www.christopherfullemann.com born Lausanne, Switzerland, 1983
education BA in Visual Arts, University of Art and Design Lausanne, 2008 MFA, San Francisco Art Institute, 2012
When I look at a piece of art, I wish to see a blast of silent noise bursting out, like a sound coming out of a cloud, and over there, there is space for a great variety of objects and things that can be continuously penetrated merely by being immersed in this amorphous atmosphere. The belief in the possibility of fulfilling this vision is both a horizontal goal and an initial motive for my creative process. The act of displaying and displacing this cloudy space is located at the center. Whether two-dimensional, threedimensional, or moving, all of the mediums that I use reference unstable breathing matter.
“Shh,” MistMan’s Asleep – 2011 – Ceramic, latex, fabric, wood, wire, and metal Dimensions variable
born Haifa, Israel, 1980
education BA in Animation, Minshar School for Art, Tel Aviv, Israel, 2008 MFA, San Francisco Art Institute, 2012
I am interested in abstraction through color, figuration, travel, text, queer sensibilities, and humor. I write novels. I paint. I paint fun paintings, which are fun to paint. I am concerned about having a meaningful life and the meaning of life, while living happily and healthily. Many of these issues may or may not be present in my paintings or writing. I am alright with that. I hope to take my work less seriously, as only then can it actually say or do something.
Leon Russell’s Horseradish and Garlic – 2011 – Oil and acrylic on canvas 72 x 36 inches
J A M E S B U C K L E Y G A L L O WAY
www.jamesbuckleygalloway.com born Chicago, Illinois, 1983
education BFA in Painting and Printmaking, Carnegie Mellon University, 2006 MFA, San Francisco Art Institute, 2012
The focus of my work is failed communication. I am investigating the multiplicity of language and the subsequent disconnect between individuals. Through the use of a decontextualized iconography, I layer meanings in each piece and defamiliarize both myself and the viewer with our modes of communication. With these icons, I restage my personal experiences with miscommunication. I want the viewer’s experience of the work to mimic my own experiences with ambiguous communication: the rise of uncertainty, the obsessive return to analysis, and the desire to unearth true meaning.
Pillow Talk – 2011 – Monoprint 5.75 x 10 inches Pulse – 2011 – Monoprint 5.75 x 10 inches
JON GOUR LEY
born Des Moines, Iowa, 1982
education MPH in Public Health, University of Iowa, 2009; BA in Art, University of Iowa, 2005; BA in Biochemistry, University of Iowa, 2005; BS in Chemistry, University of Iowa, 2005 MFA, San Francisco Art Institute, 2012
A 1960s feminist slogan stated: “The personal is political.” My artistic practice engages the audience in this question of how patriarchal religious beliefs have been a contributing force in creating norms, taboos, and restrictions that are placed on everyday life, specifically subscribing to the oppression of women. The Menstrual Diaries videos bring private acts into a public discussion. They challenge old and continuing perceptions of a woman’s bodily functions as impure or sacrilegious— perceptions that are passed on in religious scriptures and oral traditions. These traditions are seemingly unique to specific cultures; however, when viewed together, they define a universal language of patriarchy.
Menstrual Diaries – 2010–2011 – Video Run time variable
P A L L AV I G O V I N D N A T H A N
www.pallaviart.com born New Delhi, India, 1981
education BFA in Painting and Sculpture, Savannah College of Art and Design, 2003 MFA, San Francisco Art Institute, 2012
Combining conventional painting with paint-skin collage, I interpret the relationship between humans and nature.
Trash Island â&#x20AC;&#x201C; 2012 â&#x20AC;&#x201C; Acrylic on canvas 57 x 33 inches
DOUGL A S GR AU PE
born Blairstown, New Jersey, 1987
education BA in English and Creative Writing, Franklin and Marshall College, 2009 MFA, San Francisco Art Institute, 2012
A tension between exhibitionism and intimacy is at the heart of my drawing and painting practice. I am interested in the erosion of privacy that the participation in social networking has generated over the past decade. I make portraits of people I know from photographs that I steal and crop from online profiles, then simplify into colors, shapes, and lines. In my self-portraits, I take one step back by posing for my own photographs. The time I have spent with the show-off as subject has reflected my concern with social networking as a voluntary forfeiture of privacy.
Girl Talk â&#x20AC;&#x201C; 2010 â&#x20AC;&#x201C; Acrylic on canvas 54 x 50 inches
H O L LY G R I M S R U D
www.hollygrimsrudart.com born Rochester, Minnesota, 1984
education BA in Studio Art and Art Education, Saint Olaf College, 2007 MFA, San Francisco Art Institute, 2012
My work forms an allusive hybrid between drawing and literature by interjecting the subject matter. There is a rawness in the manner that is within the understanding of the viewer. Based on my experiences and everyday life, I portray society with all of its imperfections that we all enjoy. Society is placed starkly into the traditional literary formats of screenplays, prose, and poetry. The wingding characters, interspersed throughout my writing, act as both decoys and stage directions to compel the viewer or reader to determine for themselves whether these dashes, arrows, and symbols serve a particular semiotic purpose, or whether they may simply be placeholders—abstract glyphs alluding to some modern day Rosetta Stone.
We Doubted Her Sanity – 2011 – Wingding Opus book Dimensions variable
M AT T H E W S CO T T GUA L CO
born Sacramento, California, 1983
education BFA in Painting, Kansas City Art Institute, 2008 MFA, San Francisco Art Institute, 2012
My work explores my connections of geographical places and history. At the same time, it accounts for the cycle of dislocation, transition, and immigration. I use an accretion of materials to relate this experience of transition, social issues, and displacement.
Neighborhood (Installation View) – 2011 – Acrylic, screen print, and cardboard collage on wood palette 40 x 48 inches Neighborhood (Detail) – 2011 – Acrylic, screen print, and cardboard collage on wood palette 40 x 48 inches
CR IST I NA GU ER R EIRO born Rio de Janeiro, Brazil, 1981
education BA with Honors in Visual Communication and Illustration, University of Central England, 2004; BTEC Diploma, Kent Institute of Art and Design, 2001 MFA, San Francisco Art Institute, 2012
I understand abstraction as some kind of digestion and as a tool for communication. If I had to describe my paintings, I would say they are abstract landscapes, a color-based answer to what surrounds me. I am interested in the act of painting and in a studio-based production. While in the studio, imagining a fictive or an upcoming show, I will put together pieces and fragments, manipulating a drawing, what was in my pocket, or what I last collected.
Hockney Basket â&#x20AC;&#x201C; 2011 â&#x20AC;&#x201C; Mixed media 70 x 25 x 6 inches
CH AR LOT TE HER ZIG
born Vevey, Switzerland, 1983
education BA in Visual Arts, University of Art and Design Lausanne, 2007 MFA, San Francisco Art Institute, 2012
Max 12 Children or 5 Adults – 2011 – Plastic, fan, and sandbags 156 x 156 x 180 inches End of What Trail? – 2010 – Wood, steel, tape, newspaper, fake fur, fabric, feathers, stuffed animal, fake hair, and felt 120 x 144 x 48 inches
PE T E H ICKOK
born Seattle, Washington, 1982
education Post-Baccalaureate Certificate in Sculpture, San Francisco Art Institute, 2010; BA in Studio Art, Lewis and Clark College, 2005 MFA, San Francisco Art Institute, 2012
When I Remembered – 2011 – Wood, plaster, house paint, and HD video projection Dimensions variable Shards of the Anthropocene – 2011 – Digital inkjet print, hydrocal, house paint, and wood Dimensions variable
born Charleston, South Carolina, 1978
education MFA, San Francisco Art Institute, 2012
My work is situated around the transitory spaces of celebratory events and the subdued rituals of contemporary leisure. By the means of layering, covering, tracing, stacking, and compressing, I draw on the ephemeral attitude of time to illustrate the past and future. I use color as a signal; it is the mechanism that jump-starts an evanescent nostalgia. Using alluring representations, I saturate the viewer with the suppressed melancholic nature of aftermaths and expectations.
balloons – 2011 – Mixed media on latex Dimensions variables surprise party – 2012 – Oil on canvas 71 x 128 inches
DA N I E L J EF F ER I E S
www.danieljefferies.com born Stockholm, Sweden, 1988
education BFA in General Fine Arts, Emily Carr University of Art and Design, 2010 MFA, San Francisco Art Institute, 2012
My work renegotiates personal authenticity within social structures, with a strong curiosity for the moments when things don’t quite add up. I test the limits and possibilities of fiction through transdisciplinary media including text, video, photography, sculpture, performance, and sound, and with the installation of familiar yet surreal spaces, such as a vintage medical clinic replicated as a stage for participatory experience. While my method can be playful, occasionally using proxy and interactive performance, archival strategies and codified systems are crucial components. I also enjoy collaborating with researchers in scientific disciplines. Underpinnings of my art include regression, technology, gender, control, and layered omission.
CatLady Lioness – 2011 – Performance self-portrait; archival inkjet print Dimensions variable
C A R R I E SI NCL A I R K AT Z
education MFA in Creative Writing, San Francisco State University; BA in Sociology/Anthropology/ Studio Art, Syracuse University; BA in English Literature, Tulane University MFA, San Francisco Art Institute, 2012
My current work is divided into two series: Youth Wasted and The Dirty Girl. The first series, Youth Wasted, is composed of large works made in chalk pastel on paper, which focus on a portrait of contemporary party culture in America. The Dirty Girl series is colored pencil drawings on paper. The intention of the work is to highlight sexual tensions between the old and the young and to focus on stereotypes placed on women in these relationships.
Dirty Girl #9 â&#x20AC;&#x201C; 2010 â&#x20AC;&#x201C; Colored pencil on paper 17 x 14 inches
K E R R Y A . K E L LY
born Tacoma, Washington, 1985
education BFA in Painting, Massachusetts College of Art, 2008; AA in Arts, Miami Dade College, 2006 MFA, San Francisco Art Institute, 2012
My body of work, as a narrative filmmaker and animator, is not yet the final product, but a process toward the bigger picture—an expression of basic human emotions and an experience of depth and warmth, created and designed for the people, not for robots, nor for elitist niche groups. Art belongs to the people. There is more to stories and emotions than art created for art’s sake and the sterile spaces of its presentation. A gentle persuasion of the heart, one’s spiriting away to another life and another world—this is the power of art that I seek.
Otter + Lemur – 2012 – 3D animation 1:40 minutes
HAE R AN “R AHN” KIM
born Seoul, Korea, 1986
education BFA with Honors in Film and Television Production, Tisch School of the Arts, New York University, 2009 MFA, San Francisco Art Institute, 2012
“Hello, my name is Laura Hyunjhee Kim. ྦዻໞဠ' ႞ ၦၔ ጢხၮఁఋ.” Laura Hyunjhee Kim is a Korean American intermedia artist working with video and performance. Quoting and recontextualizing references— including autobiographical anecdotes, art history, and mass media—that inundate her everyday life, Kim explores physical and psychological dislocations and contradictions that surface through the disjunctures of language and gesture. Utilizing the immediacy of video and low-tech setups that frame and reframe the body, Kim often incorporates ironic and subversive humor within her work.
You Can’t Take Me Away From Me – 2011 – Single-channel video 7:48 minutes Cluck – (Quote) – 2011 – Single-channel video 0:28-minute loop Do You Want Me? – 2011 – Performance Dimensions variable
L AU R A H Y U N J H EE K I M
www.lauraonsale.com born Stanford, California, 1987
education BS in Art, University of Wisconsin-Madison, 2009 MFA, San Francisco Art Institute, 2012
Electronic devices are translucent entities: commoditized objects acting as intercessors between the body and its intangible presence in an infinite community. This work meditates on the connections and disconnections between human and electronic bodies, dimensionless identities and alienation. Porcelain and electronics are ubiquitous materials: simultaneously utilitarian and precious, fragile yet persistent, contemporary and artifactual. Porcelain retains the memory of actions performed on the object—the pressure of skin and nails marks the presence of an identity imprinted onto a disinterested medium. This materiality reconnects the maker and the object and reveals a history of making that is often sealed away in sleek design.
i – 2012 – Porcelain, LED lights, plexiglass, and mixed media Dimensions variable iv – 2011 – Porcelain, LED lights, and mixed media 12 x 68 x 5 inches
A M A N DA K L I M EK
born Rochester, New York, 1984
education BFA in Painting, Pratt Institute, 2007 MFA, San Francisco Art Institute, 2012
The following are inspirations/ aspirations related to “my work”: Star Trek, artificial intelligence, affordable healthcare, “the flipped classroom,” Estonia, espionage, Bauhaus, computer vision, the Perandi family, efficient office management, telepresence technology, history of literacy + print + mass media technology, color, the Internet, Neue Sachlichkeit, “social media,” conversation, the unconscious mind, cutting-edge data collection + aggregation methods, fantasies, systems + networks, infinitude, classic cocktails, reproductive labor + “women’s work,” criminology, intelligence as information gathered about an enemy, pattern recognition, the studio system of classical Hollywood, theatre, video-phone technology, the Universal Translator. To learn more or to request a live conversation, please contact my secretary Myona by email at email@example.com. The Ultimate Computer – 2009–present (Ongoing) – HD video 437:00+ minutes For the World is Hallow and I Have Touched the Sky – 2010 – 16mm film 17:01-minute loop
N IK I E . KORT H
Introducing Lakiko, or What Are Little Girls Made Of? – 2011 – HD video 37:37 minutes
www.thebigconversationspace.org born Burnsville, Minnesota
education BA in German Literature and (Media) Culture, Minor in Cultural Studies and Comparative Literature, University of Minnesota, 2008 MFA, San Francisco Art Institute, 2012
My work is based in sound. I am interested in sound art, focusing on the idea of the “visualization of sound.” To me, the visualization of sound occurs by presenting the foundation of a sound to an audience and expressing that sound in conjunction with sculpture or other media, rather than visualizing the physical characteristics. This is a method that allows the audience to enjoy sound by combining sound with story (like an opera or a musical). In other words, allowing the audience to experience sound in person, by giving them the power to concentrate on and understand the sound through these methods, is a visualization of sound and the method that I strive for in my work.
Comfortable Silence – 2011 – Sound 1 minute
J I I N K WA K
born Seoul, South Korea
education MFA in Film and Digital Media, Dongguk University, 2010; BA in Korean Language and Literature, Dongguk University, 2007; BA in History, Dongguk University, 2007 MFA, San Francisco Art Institute, 2012
For me, photography is an experiential practice of being completely present in a moment. Most of my work is in response to place. I enjoy searching for the unexpected and the unfamiliar. Quite often, in the process of photographing, I become more aware of myself, and of how I relate to the world. Certain instances behind the camera make me feel as though I disappear and become one with what I see, as if nothing else exists except that moment in time. I am constantly seeking that kind of experience, and I hope to convey the emotion that I feel when immersed in this type of moment.
Untitled – 2011 – Archival inkjet print 20 x 24 inches Untitled – 2011 – Archival inkjet print 20 x 24 inches
CELIA LAR A born Providence, Rhode Island, 1979
education BA in Art, University of Vermont, 2002; BA in Biology, University of Vermont, 2002 MFA, San Francisco Art Institute, 2012
Mido Lee is a Taiwanese feminist photographer. The series You, Me, and Beautiful Them projects the gamut of stereotypes created by viewers, artists, and subjects. The identifications of gender, race, religion, and class are fabricated. The boundary of the classical male nude is pushed to reveal all prejudices to be collectively man-made.
You, Me, and Beautiful Them: Untitled 9 â&#x20AC;&#x201C; 2011 â&#x20AC;&#x201C; Silver gelatin print 67 x 52 inches
born Taipei, Taiwan, 1987
(LEE CHI A J U NG) education MA in Photography, Edinburgh College of Art, 2010; BFA in 3D Animation of Communication Design, Santa Clara University, 2009 MFA, San Francisco Art Institute, 2012
My work is concentrated on instances of madness and horror that are ever-present in situations intended to be safe and gentle. I address the narrow space between sanity and insanity with uncanny installations that are both innocent and corrupt— capturing the moment of the double take, when something or someone changes from malicious to benign and back again. My crowded world is constructed utilizing colorful, childlike subject matter that operates as a welcoming arena for viewers to enter into an alternative psychological space.
Cats on a Red Carpet – 2011 – Oil on panel 18 x 18 inches Car and Dogs in a Field – 2011 – Oil on canvas 40 x 80 inches
born Minneapolis, Minnesota, 1986
education BFA in Studio Art with Emphasis in Drawing, Painting, and Printmaking; Minor in Art History and Photography, University of Minnesota, Duluth, 2009 MFA, San Francisco Art Institute, 2012
My work is focused on failed and attempted communication. It is an anthropologically charged exploration of the physical, emotional, and sexual relationships between people from the point of view of an individual. Through initial attraction and apparent simplicity, I mimic everyday social interactions. I am concerned with the realm beneath these innocuous social cues and conversational prompts, where desire for something more exists. Through the tension of seduction and repulsion, I am striving to understand how we simultaneously relate to and resist each other.
Is That All There Is? – 2012 – Cherry Kool-aid Sweet Talk – 2012 – Video 4-minute loop
R E BE C C A L E V I TA N
born Toronto, Canada, 1984
education BFA in Painting, Nova Scotia College of Art and Design, 2008 MFA, San Francisco Art Institute, 2012
Bingjie Li explores the depth of human emotion and feeling with different media. She builds stories and a fantasy world using the handmade doll Mocha as a signature character. As a designer concentrating on emotional and interactive experiences, she makes by-products of the story.
Mocha’s Iteration of Red Riding Hood – 2012 – Mixed media Dimensions variable
BINGJIE LI born Xi’an, China
education BE in Industrial Design, Guangdong University of Technology, 2010 MFA, San Francisco Art Institute, 2012
As an experimental filmmaker, I want to have the freedom to physically manipulate film, using different hands-on techniques to change perception and time in the image, and to play with ideas of unity and disunity. In my images, I do not want to work with facts linked to each other in a linear process, in which one event leads logically to another. This is the path that leads towards the conventional narrative, where any deviation—for example, a dream, a delusion, a memory—is signaled in an obvious way. I am interested in the “crisis of truth,” the dreams, and the complication in time and perception where the body is no longer motivated by linearity.
Leonora – 2011 – Super 8mm and 16mm film 6 minutes Wilbrooke House – 2012 – 16mm film 4 minutes
born São Paulo, Brazil, 1967
education BA in Cinema, Binghamton University, 2010; AA in Cinema, Universidade Estácio de Sá, 1999 MFA, San Francisco Art Institute, 2012
The work that I make embodies many elements of emotion. The act of carving and writing to make a mark that is unique and personally descriptive is very intriguing to me. I am constantly aware of and moved by seeing carvings of names and dates in cement. The act of carving has significance in regards to self-preservation and layers of time. We try to identify ourselves in a world filled with other people as being different, but we take on acts that relate us to one another. We claim and interact with space by making marks. We change places into precious memories through interacting with the city space.
I Was Here Too – 2010 – Photo-etched prints 20 x 42 inches TLC – 2011 – Photo-etching layered print 18 x 24 inches
DA R A L OR E NZO
www.daralorenzoart.com born Baltimore, Maryland, 1983
education BS in Printmaking, Towson University, 2008; Coursework at West Virginia University for Painting, 2001–2004 MFA, San Francisco Art Institute, 2012
My photographic work is a critical investigation of the American landscape and experience from an immigrant’s viewpoint. Iconic Americana— its hotels, motels, houses, cars, parking garages, palm trees, and signage—is depicted through places such as Las Vegas, Disneyland, and the suburbs of the San Francisco Bay Area. The documentary aspect of the work, sociological in nature, captures the contemporary cultural reality. Both universal and personal perspectives of these anthropological places and nonplaces suggest that the particular and the general, the local and the global, the familiar and the foreign are integral parts of life in modern times.
Road Closed Ahead #2 – 2010 – Archival inkjet print 22 x 33 inches Disnopia – 2011 – Archival inkjet print 27 x 40 inches
OR E N LU K AT Z
born Haifa, Israel, 1968
education BFA in Computer Arts and New Media, Academy of Art University, 2008; LLB, University of Wales, Cardiff, 1994 MFA, San Francisco Art Institute, 2012
My recent pedagogical art practice Perfumed Violence tries to show the gap that often exists between a parent’s expectations and a child’s free will. I deal with “educational fever” in Korean society, which is a focus on grade performance above all else, and has produced many people who know how to excel academically, but who are set up to fail in other aspects of their personal and emotional lives. I see this “educational fever” as an unconscious institutional violence that stems from biopower domination that unfolds inside both domestic and school spaces.
Big Bracelets (Installation View) – 2011 – Mixed media with video players Dimensions variable
H Y EYOU NG M A ENG
www.hyeyoungmaeng.com born Cheonan, South Korea
education MFA in Korean Painting, Kyung Hee University, 1999; BFA in Art Education, Kyung Hee University, 1996 MFA, San Francisco Art Institute, 2012
My work takes art as a point of departure for a larger inquiry into cultural production and sociability. Creative strategies including food, music, fabrication, sound, and design are employed as means of social aggregation. Process and documentation inform each other in order to question the nature of the event and the potentialities of collective experience.
Music for Dining – 2012 – Digital inkjet print 11 x 17 inches 116,000 Calories – 2011 – Digital image Dimensions variable Photographed by Elizabeth Doll Cayne
MILOS ZA HR A DK A M A IOR A NA
born Rome, Italy, 1980
education BA in International Affairs and Philosophy, John Cabot University, Rome, 2000 MFA, San Francisco Art Institute, 2012
I have experienced a multicentered identity, growing up in the home of dissident North Americans in Costa Rica, dancing ballet professionally in New York City, litigating on behalf of catastrophically damaged victims in Texas, and filming perverse, philosophical comedies in France, Russia, and other foreign lands. My paintings, informed by these multifarious experiences, hover near the intersection of laughter and darkness. They offer maelstroms of charged atmospheres, often psychosexual in nature, highlighting exploitation, errant beauty, social injustice, and folly—but inevitably with the rueful smile of the complicit.
Anatomy of a Heart and Dildo – 2011 – Colored pencil, watercolor, and ink on paper 48 x 60 inches Ode to Books (Men as Sex Objects Series #2) – 2011 – Oil on linen 40 x 60 inches
M A RY N ELL M A LON EY
www.truthisillusion.com born San Jose, Costa Rica
education MA in Psychology, Trinity University; JD in Law, St. Mary’s University; BA in Philosophy, Oberlin College MFA, San Francisco Art Institute, 2012
Clothing functions as a second skin—concealing, revealing, disguising, and transforming the living body beneath it. My garments, inspired by Steampunk, evoke reimagined histories in which time has gone “out of joint.” Made from repurposed materials, they utilize the waste of contemporary affluence to re-envision the attire of the gentry at the peak of British imperialism, thus drawing a parallel between the Victorian era and the violence and oppression that underpin today’s consumer culture. My ceramic sculptures depict the human figure dissected, drawing on the long tradition of anatomical models. Molded from clothing mannequins, they act as the garments’ supporting cast, the innards only partially contained by the physical and sartorial skins.
Undulating Bustle – 2010 – Repurposed fabric Dimensions variable The Three Disgraces – 2011 – Clay and glaze Dimensions variable
ZOË M A RTELL
born Mountain View, California, 1967
education Post-Baccalaureate Certificate in Painting, San Francisco Art Institute, 2009; MS in Clinical Psychology, San Francisco State University, 2003; BA in Psychology and English Literature, San Francisco State University, 2000 Dual Degree MA/MFA, San Francisco Art Institute (projected 2013)
Within my artwork, I explore the intersection of historical and contemporary definitions of Blackness, largely viewed through the lens that my family history has provided for me. Through the ignition of gunpowder, I work to capture the delicate nature that the gunpowder can have, while at the same time playing with the power that gunpowder has on the viewer’s consciousness. My emotions that come forth are relieved by the chaos and beauty of the fire from the gunpowder itself.
Where I Have Walked, Shall I Forget? – 2011 – Gunpowder and gold leaf on canvas 60 x 50 inches
C A R O LY N J E A N M A R T I N
www.carolynjeanmartin.com born Pittsburgh, Pennsylvania
education BFA in Painting, John F. Kennedy University, 2010 Dual Degree MA/MFA, San Francisco Art Institute (projected 2013)
I make paintings of precariously arranged objects in strangely vacant or perceptually destabilizing interior spaces. These images make visual narratives with the empty and seemingly banal spaces of everyday life. I am interested in crafting a realism in my paintings that creates a quiet atmosphere and a muted aesthetic, which all the while engages contemporary themes such as the overactive state of commodity culture and the ever-present condition of planned obsolescence. My intent is to position these ideas as a representation of what is becoming increasingly atypical in the hyperactive nature of consumer culture: an attentive regard of the overlooked.
Icarus Leaves His Father – 2011 – Acrylic and oil on canvas 72 x 96 inches Happy Birthday Vercingétorix – 2012 – Oil on canvas 31 x 46 inches
Z ACH M I T L A S
born Portland, Oregon
education BA in Studio Art, Linfield College, 2009; French Studies, American University Center of Provence, 2007 Dual Degree MA/MFA, San Francisco Art Institute (projected 2013)
My work investigates the complexities and constraints involved when discussing the subject of race. My current trajectory involves explorations of domesticity, gender, ethnicity, sexuality, and motherhood in photography and video. More personally, the notion of hybridity—in its many forms— interests me. Race, like gender, is a form of camouflage. It covers and defines the body. It is not static. It is categorical and at the same time manages to erase and speak for identity; it is flawed. My explorations are informed by both personal and gleaned experience. The psychological and emotional consequences of these “happenings” of familial, social, cultural, and even sexual events are what I am most interested in.
The Invisible Man – 2011 – Chromogenic print 24 x 30 inches Natural History Series: The White Negro Female I – 2010 – Chromogenic print 30 x 24 inches The Removal – 2011 – Video 3:07-minute loop
MEGA N M. MORGA N
www.meganmmorgan.com born Paget, Bermuda
education BA in Art and Art History, University of Toronto, 2009; Coursework in Studio Art, Sheridan College, 2009 MFA, San Francisco Art Institute, 2012
The domestic realm, specifically my childhood home, is my main subject of interrogation. Breaking the myth of the home as a solid, permanent, and protecting structure, my sculptural objects instead assume the fragility of a house of cards. Although scaled to human proportions, they are neither usable objects in a practical sense nor solely self-referential. They are shelters or monuments for memory—the result of a self-inflicted, and somewhat compulsive, exercise. And like other monuments, they stand not as a collective or accurate representation of my (or anyone else’s) past, but as ambiguous symbols teetering between notions of nurture and imprisonment.
Untitled Tent #1 – 2011 – Photographic prints (4 x 6 inches), thread, zipper, and aluminum poles 44 x 48 x 78 inches Untitled Tent #2 – 2011 – Photographic prints (4 x 6 inches), thread, zipper, and aluminum poles 36 x 56 x 84 inches
Z ACH MOSER
born Salinas, California, 1975
education Teaching Credential in Art, San Francisco State University, 2005; BA in Studio Art, University of California, Davis, 1999 MFA, San Francisco Art Institute, 2012
Dealing with issues of space, mapping, and dwelling, I create paintings that exist sculpturally. I am fascinated with the overregulation of architectural forms and material treatments within suburban developments, and view the standardized template as a starting point to investigate the concept of the suburban doppelgänger. Using various building materials, I create painterly environments that rely heavily on organization, decoration, and display. Often drawing source material from contractor blueprints, paving maps, and DIY books and tutorials, I am intrigued by the processes and relationships that take place from architect to dweller within a single space.
Wall to Floor – 2 – 2011 – Mixed media Dimensions variable House Swatch – 2011 – Mixed media 48 x 60 x 72 inches
S A R A H N A N TA I S
www.sarahnantais.com born Brampton, Canada, 1988
education BFA with Honors Specialization in Studio Arts, Major in English Language and Literature, University of Western Ontario, 2010 Dual Degree MA/MFA, San Francisco Art Institute (projected 2013)
My work is an investigation of the deeply complex and constantly evolving relationship between painting and documentary photography. I create an ambiguous narrative through the use of photographic references from my past and cinematic stills from various sources. This narrative can be further developed by the incorporation of the viewer’s own personal history. The dialogue within my paintings circles around issues of life, death, sex, violence, tragedy, and interpersonal relationships. This serves to call upon an altered reality within an intimate and interchangeable narrative space.
Still – 2011 – Oil on canvas 30 x 40 inches Bulge – 2012 – Oil on wood panel 18 x 24 inches
MER EDITH O’NEA L
born Houston, Texas, 1987
education BFA in Painting and Photography, Texas State University, 2010 MFA, San Francisco Art Institute, 2012
The past permeates the present. It is embedded in everyday objects: a memento, a letter, an old teacup. It is also stored in systems and technologies devised for its preservation: the library, the archive, the file, the floppy disk. Each of these, in turn, slips from the present into memory, into the realm of the opaque object. I am interested in how these systems and technologies function as imperfect keepers of memory and flawed generators of knowledge. My work explores the poetic relationship between meaning and material—how experience is transformed into information, how the past is compressed into things.
On the floor: Archive – 2011 – Unglazed porcelain, string, and found items Dimensions variable On the wall: Series – 2011 – Unglazed porcelain and nails 15.75 x 10.5 x 0.125 inches (each) Samples (Detail, 1 of 15) – 2011 – Unglazed porcelain 3 x 9 x 3 inches
SA NDR A OSBOR NE
Archive (Detail) – 2011 – Unglazed porcelain, string, and found items Dimensions variable
www.sandraosborne.net born San Francisco, California
education JD, Seattle University School of Law, 1985; BA in Art History, University of Washington, 1982 MFA, San Francisco Art Institute, 2012
I am exploring the notion of what is despicable and undermining that with what is considered beautiful, and vice versa. I play with ideas of illusion, sexuality, and false impressions, as well as the psychological space between what is interpreted as attractive versus repulsive. I begin by drawing photorealistic images of typical everyday objects. These can include yarn, fabric, hair, specific body parts (tongues, mouths, lips, teeth, etc.)—essentially objects that I consider a part of my everyday life. By enlarging the scale and focusing on details of shape and surface, I engage viewers with the visceral and beautiful aspects of these everyday forms. I explore my mediums and installation qualities and use them to create unexpected dialogues between viewer and object.
Pink Parts – 2011 – Oil pastel on panel 120 x 88 inches (16 panels, 22 x 29 inches each) The Sweet Breath of Time (Detail) – 2011 – Prismacolor on paper 8.5 x 11 inches
S O N I A PAYA N
born Las Cruces, New Mexico, 1986
education BFA in Painting and Drawing, New Mexico State University, 2008 MFA, San Francisco Art Institute, 2012
Kristen F. Perkins’s photographic expression fluctuates between her background in photojournalism and documentary photography and more loosely metaphoric photographs that are not definitively narrative or dominantly descriptive in structure. The results are ambiguous while also being expressive and accessible. Perkins’s work encourages unexpected associations and triggers personal memory through the use of pairs, small groupings, and sequencing.
Offerings – 2011 – Archival inkjet prints Dimensions variable For the Virgin – 2011 – Archival inkjet prints Dimensions variable Reflections from the Farm – 2011 – Archival inkjet prints Dimensions variable
K R I S T E N F. P E R K I N S
www.kristenperkins.com born Fairfax, Virginia, 1983
education Post-Baccalaureate Certificate in Photography, San Francisco Art Institute, 2010; BA in Art, Concentration in Photography, Pennsylvania State University, 2001; BA in Communications, Concentration in Journalism, Minor in Business, Pennsylvania State University, 2001 MFA, San Francisco Art Institute, 2012
Spaces are haunted by the many bodies that successively inhabited them over time, leaving spectral traces of their presence. In my art practice I aim to push taboos back into our more immediate consciousness, freeing them of the labels that have been contrived to ward them off. While designing the installation titled Room 19 6, lingering questions remain and are exhibited by the objects implemented in the space. How is a “queer culture” born out of its own exile and then communicated through various generations? How is it contained through the grid of normativity and how does it exceed it?
ROOM 19 6 – 2012 – Installation Dimensions variable
JA MES MITCHELL PERLEY
born Chicago, Illinois, 1978
education BA in Audio Acoustic Science, Columbia College Chicago, 2005 MFA, San Francisco Art Institute, 2012
Petrified Forest – 2010 – Archival inkjet print 17 x 22 inches Naked Jim – 2010 – Archival inkjet print 17 x 22 inches
T I M O T H Y H . P I N A U LT
born Concord, New Hampshire, 1982
education BFA in Photography, University of Hawaii, Manoa, 2006 MFA, San Francisco Art Institute, 2012
Drawing is an event, a temporal performance. I document and explore the experience of its duration. My work examines its own chronology and space by using a methodology of objective collecting and archiving to combine information, experience, event, and circumstance. I use the repetition of pattern and the movement of line as natural motifs with which to visually articulate this temporality. I am interested in the accumulation of mark as objective output. This allows me to present my work as evidence and examine the creation of larger complex structures with emergent properties.
Preoccupied Line: Eating – 2011 – Ink on paper 7 x 10 inches Preoccupied Line: Bathing – 2011 – Ink on paper 7 x 10 inches Preoccupied Line: Sleeping – 2011 – Ink on paper 7 x 10 inches
EMILIE PU T TR ICH
born Chicago, Illinois, 1986
education BA in Fine Art, Hope College, 2009 MFA, San Francisco Art Institute, 2012
I create large-scale wall drawings with very few materials: usually a light source, a surface, and pigment. The addition of light to these drawings makes them appear convex, creating a tension between the siphoning negation of the light-absorbent charcoal and their dominating and protruding physicality. This dichotomy is revisited in the extremely restrained abstract forms, which, on closer view, can be seen as a culmination of idiosyncratic physical marks. They embody notions of mass, the sublime, and the totemic. I like to think of them as “gesticulations in the void.”
Twins – 2011 – Charcoal on paper 96 x 192 inches Down in the Valley – 2012 – Charcoal on paper, wood, acrylic lens, and work lights Dimensions variable
SPENCER R ABIN
www.spencerrabin.com born San Diego, California, 1978
education BA in Philosophy, University of California, Santa Barbara, 2003 MFA, San Francisco Art Institute, 2012
My newest works are figurative colored pencil drawings on paper. Informed by photographs of friends lounging in innocuous locales, my work turns the ordinary into the incendiary with the iconic balaclava (ski mask). I feel compelled to expose the notion of masking—the kind seen in grainy surveillance tapes of bank robberies, in YouTube postings by Wall Street Occupiers, or on the face of a loved one concealing bad news. Masks embody both the coward and the empowered at once; my work playfully digs into this truly American phenomenon hoping to emerge with something that looks like truth.
Three Aliases – 2011 – Colored pencil on paper 22 x 30 inches Joel and Jewel – 2012 – Colored pencil on paper 22 x 30 inches
MICHELLE R A MIN
born Williamsport, Pennsylvania, 1982
education BA in Art, Pennsylvania State University, 2005 MFA, San Francisco Art Institute, 2012
I came to the field of artistic philosophy from a background of hard science and engineering resolved to find the intersection of these disciplines—the locus where art and science work in tandem to reveal extraordinary concepts. I intended to uncover why subjective examination is not only permitted to, but also required of, an artistic audience, while the objective nature of science renders it virtually incontestable. Perception analysis should be required of both. My experiments posit that in the pursuit of exploration and discovery, art and science are not two unique concepts that meet in the spirit of revelation, but rather are one and the same.
Agar Pendants – 2011 – Trypticase soy agar, various bacteria colonies, and recovered metal jewelry Dimensions variable Graphene – 2011 – Graphite on paper 32 x 40 inches
M E LY S A R E I S S
www.melysareiss.com born Cleveland, Ohio, 1982
education BSE in BioMedical Engineering and Chemical Engineering, University of Connecticut, 2005 MFA, San Francisco Art Institute, 2012
The act of transformation, the other-than-ness of an object presented through minimal gesture—the flick of the artist—compels me. I locate the work, rather than make it. I am interested in the distinctions between art and artifact, and the dispensation required to shield each from the effects of time. The formal concerns in my work are the circuits of recursion, rhythm, reduction, constraint, and transparency. The conceptual issues that I focus on trace contradictions, dysfunctions (as the opening up of possibilities), alienation, and the void. My work is influenced by aesthetic sensibilities and ideologies derived from Deconstructionism, Institutional Critique, and Social Sculpture.
Intersection – 2011 – Found object 142 x 165 x 5 inches Get Rhythm – 2011 – Shoe-shine rags from Liberty Plaza Dimensions variable
A N NA M A R IE ROCK W ELL
born Greenbrae, California, 1980
education BFA in Painting, Pacific Northwest College of Art, 2007; Pont Aven School of Contemporary Art, 2006; Center for Art and Culture: Maryland Institute College of Art and Institute for American Universities, Aix-en-Provence, 2005; Saint Louis University, Madrid, 2002 MFA, San Francisco Art Institute, 2012
I see photography as a eulogy of memory, with no distinction between fiction and fact. Using photographic images and antique objects, I accentuate the void between my experience and past experience with acrylic transfers and casting methods. I move the image through a series of manipulative steps that embody temporal decay, but that also allow the materials, through experimentation and chance, to direct the progression of my work. These histories are inevitably fiction, as the photographic moment exists outside of living time. Everyone experiences the poignancy of time passing and a fascination with what is left behind.
Pocketbook – 2012 – Acrylic medium 4 x 6 inches Bankbook – 2012 – Acrylic medium 3 x 7 x 1 inches
J U L I A S ACK E T T
born Albuquerque, New Mexico, 1986
education BA in History and Visual Art, Hampshire College, 2008 MFA, San Francisco Art Institute, 2012
I have come to think of the way I photograph as if I were fishing. When I am photographing the sky, I aim my camera where I anticipate the airplanes and stars will move, just as fishermen cast their lines into the spots where they think fish might be. Sometimes I catch what I’m expecting, but like the fishermen who might find something unexpected on their hooks, my camera also catches the unexpected. My photographic work focuses on investigating the fluidity of natural and constructed environments and the phenomena that activate them.
Untitled – 2010 – Digital inkjet print 23 x 23 inches
YA SU YOSH I S A K A MO TO
born Tokyo, Japan, 1982
education BFA in Photography, Seattle University, 2009; AA, Seattle Central Community College, 2006; Technical Associate in Filmmaking, Toho Gakuen Technical College, Tokyo, 2003 MFA, San Francisco Art Institute, 2012
My photography captures landscapes in altered contexts. I create diptychs from disparate locations by associating forms and tones that enforce relationships between the physical facades within the images. These facades are commonplace; I recontextualize them to encapsulate the temporality of certain structures and terrain, creating a heightened sense of what pictorial authority reveals.
Untitled 47 – 2012 – Digital C-Print 32 x 40 inches Good Day – 2012 – Digital C-Print 32 x 40 inches
JOSEPH SA NDER S born Chattanooga, Tennessee
education BFA, School of the Art Institute of Chicago, 2009 MFA, San Francisco Art Institute, 2012
Subjective and abstract human emotions are hard to convey to others, and many people are somehow indifferent or insensitive to each other’s feelings. As an allegory of this human predicament, I create simple assemblages with common objects that stand in for the misunderstanding of emotions. Since the objects that I use are familiar everyday objects, the viewers have a chance to project their own misunderstood feelings and experiences onto them.
Bodies – 2011 – Sand and nylon stockings Dimensions variable Somebody – 2012 – Eggs and a wooden pallet 7 x 40 x 40 inches
YOO J I N SH I N
born Seoul, South Korea
education BFA in Sculpture, Seoul National University, 2008; BA in Religious Studies, Seoul National University, 2008 MFA, San Francisco Art Institute, 2012
In constructing installations, I am providing a framework for selected elements that activate multiple senses in one environment. In sustaining a loose approach to composition, I allow the natural character of the material to clearly present itself. Motioning exploration, interpersonal interaction, and incongruous perspective are the interests of my work.
Bitruncated Tesseract – 2011 – Copper, superglue, light, and mylar Dimensions variable Untitled – 2011 – Archival ink on 8mm habotai silk 34 x 42 inches
K E L S E Y J A LY N S I G G I N S
www.affectcollect.com born Arizona, 1985
education BFA in Art History, University of Arizona, 2007 MFA, San Francisco Art Institute, 2012
Fields of Force – 2011 – Acrylic on canvas 72 x 60 inches
born Ancon, Panama
education BFA in Painting, San Francisco Art Institute, 1980; Coursework in Painting, Virginia Commonwealth University, 1978 MFA, San Francisco Art Institute, 2012
I am inspired by dark matter and haunted by visions of a dystopian future. My work presents the viewer with artifacts and supportive evidence in minimalist space. These works are manifested utilizing traditional printmaking techniques, which accompany dark sculptural elements. Place and form are depicted from a quantum level as a simplified pattern with a stark palette. I approach the metaphysical as a scientist within a clinical environment, visualizing the blur between a tangible reality and fiction.
Shield (3030–3032 AD) – The Battle for the Antimatter Universe – 3031 – Wood, hand-forged steel weaponry, leather, graphite, acrylic polymer, and ash Dimensions variable
S AV A N N A S N O W
born Hollywood, California, 1973
education BFA in Advertising, Art Center College of Design, 2003 MFA, San Francisco Art Institute, 2012
My work is an ongoing investigation of the intimacy, control, and tension of a relationship that takes place in budget motel rooms. I transform and take ownership of the unfamiliar motel rooms by staging fictional situations. I place my subject in the temporal world that I have created and see how he interacts with it. The gaze of the subject into the unknown and the gaze that I have toward my subject are very different yet similar.
Pepper Tree – 2012 – Archival inkjet print 30 x 40 inches 6 – 2011 – Archival inkjet print 30 x 40 inches
JA NICE SU HJI
born Houston, Texas, 1987
education BA in International Relations, University of California, San Diego, 2009 MFA, San Francisco Art Institute, 2012
My work engages artifacts of civilization corroded by time and nature, echoed in burnt and deranged 16mm film cells and HD video. Equally composed and chaotic, the lusciously dark images are embraced in an erupting dirge of dissonant sound and low frequency vibrations. This investigation is informed by an array of contemporary photographers, philosophers, and makers of apocalyptically heavy music, and influenced by the Super 8mm films of the No-Wave movement and the current underground movements. I approached SFAI with over a decade of experience as an independent documentarian and filmmaker and have emerged with a new vision and compelling film series: The Pathology of Civilization.
The Pathology of Civilization – 2012 – Burned 16mm film and HD video 5 minutes Pliable Foe—Music Video for Isis – 2011 – HD video 7:47 minutes
K ENNETH THOM AS
born Seattle, Washington, 1973
education Sound Production, University of Washington, 1998; BS in Film Production, Boston University, 1995 MFA, San Francisco Art Institute, 2012
The Pathology of Civilization – 2012 – Digital inkjet transparency from scans of burned 16mm film 66 x 12 inches
My current body of work Out of the Void was born of an exploration of the exchange between realms of formlessness and the immaterial and the corresponding emergence of realms of form following gesture, emotion, sensation, and thought. Working alchemically with the antiquated media of milk quark, ash, and hydrated lime— together with earth, stone, and plant pigments—I allow chaotic accidents of fragmented form to emerge as seeds of conversation, creating an enigmatic dialogue of intrinsic potentialities between what is, what is possible, and what is yet to be.
Tipping of the Font – 2011 – Milk quark, lime, charcoal pencil, earth, and stone pigments on linen 48 x 36 x 1.5 inches
DE N ISE SUS A N N E TOW NSE N D
born Chicago, Illinois
education Post-Baccalaureate Certificate in Fine Arts, Studio Art Centers International, Florence, 2009; MEd in Creative Arts in Learning, Lesley University, 1991 MFA, San Francisco Art Institute, 2012
My recent work investigates the processes and materials that compose our built environments. By integrating prefabricated materials with hand reproductions of objects that appear prefabricated, I have sought to familiarize myself with processes of mass production and standardized methods of construction. While trying to convincingly represent true everyday forms, my re-placement of such forms into an environment where they are removed from their conventional roles (through altered scale or orientation) has been about drawing attention to what is hidden in plain sight, and contemplating the psychic and aesthetic power of the objects and structures we live around and within.
Clipboard I, Clipboard II, and Clipboard III (Installation View) – 2010 – Steel, MDF, and plywood 78 x 48 x 18 inches each Clipboard I and Palette (Installation View) – 2010 and 2011 – Steel, MDF, plywood, oak, and fluorescent lights 78 x 48 x 18 inches and 30 x 80 x 10 inches
C A T U -T H A S O O N T H O R N
www.catuthasoonthorn.com born Chantilly, Virginia, 1983
education BA in Psychology, Saint Mary’s College of Maryland, 2006 MFA, San Francisco Art Institute, 2012
My interest in photography is life; I am attracted to topics and subject matter that are often overlooked. My current projects are on social and cultural topics and issues. My goal is to introduce environments to the viewer that are unfamiliar or disregarded. My work deals with capturing images to trigger curiosity and to engage people— hopefully provoking thinking and dialogue.
Untitled – 2011 – Photograph Dimensions variable
C E C I L I A VA S Q U E Z
born Laredo, Texas, 1984
education BA in Psychology, Texas A&M International University MFA, San Francisco Art Institute, 2012
I direct large-scale installations that include sculpture, stopmotion animation, sound, and drawings.
Crash Landing (Detail) – 2011 – Glazed ceramics, feathers, and string 14 x 5 x 1 inches Vitrine 1: The God Machine (Installation View) – 2011 – Glazed ceramics, wood, acrylic paint, silicone, plexiglass, wire, chains, computer chips, nylon mesh, iron rods, and found materials 45 x 20 x 17 inches
VA N E S S A VA U G H A N
born Kingston, Canada, 1976
education BEd in Secondary School Education, University of Windsor, 2003; HonsBSc in Marine and Freshwater Zoology, Trent University, 1998 MFA, San Francisco Art Institute, 2012
Rachel Mica Weiss is a sculptor who uses handmade textiles, manipulated fibers, and various organic materials to approach issues of absence, restriction, and exteriority. Her works, which recall both clothing and architecture, investigate possible modalities for personal barriers and protective shells. By juxtaposing structures of urgency and survival with time-intensive and rhythmic processes, she seeks to question the efficacy of physical and metaphorical boundaries.
Sagging Ellipse (After Richard Serra) â&#x20AC;&#x201C; 2011 â&#x20AC;&#x201C; Manila rope and sisal 87 x 52 x 46 inches Photographed by Joshua Band
R ACH E L M ICA W E I S S
born Rockville, Maryland, 1986
education BA in Psychology, Oberlin College, 2008 MFA, San Francisco Art Institute, 2012
My paintings are interpretations of today’s society: standards of living, social status, expectations, quality of life, and the things we value. I see my still-life paintings as portraits of individuals, focusing on their possessions as a means to describe them and the way they live, often without including the figures themselves. Fashion trends, brand names, and labels define who these individuals are. The hyper-saturated color and odd perspectives reveal an intoxicated or altered state of mind that many people require to get through their everyday lives.
Night Stand – 2012 – Oil on wood panel 36 x 24 x 2 inches
NICK W ILDER MU TH
www.nickwildermuth.com born Lakewood, California, 1981
education BFA in Drawing and Painting, California State University, Fullerton, 2008 MFA, San Francisco Art Institute, 2012
I am haunted by the future. I question the way we cruise the Internet for information, like addicts looking for our next fix. Our thinking adapts to binary logic. My work unpacks the aesthetics of this information culture—one that exists in abstractions and virtual space. I use the computer to research, process, and consolidate, to create baroque geometries, to scramble and recontextualize information. I transform the digital into the tangible materiality of paint.
Maelstrom – 2011 – Acrylic on PVC 96 x 132 x 2 inches Fragments (Series) – 2011 – Acrylic on PVC Dimensions variable Fragments (Series) – 2011 – Acrylic on PVC Dimensions variable
A LISON WOODS
born San Francisco, California
education Post-Baccalaureate Certificate in Painting with Honors, Portland State University, 2008; BFA in Illustration, California College of the Arts MFA, San Francisco Art Institute, 2012
Methods: Video, film, installation, sensor-based interactivity, performance. Objectives: To challenge power structures and familiar schema, reveal processes, and create proxies for personal visions of inner and outer worlds. Content: Transformative processes and the fluxing of physical, psychological, and social realms between unification, healing, and organization to isolation, trauma, and chaos.
Starman – 2011 – Video and 16mm film 25:10 minutes Pyroclastic – 2012 – Video installation 15-minute loop
RYA N B. W Y L I E
www.ryanbwylie.com born Saint Louis, Missouri
education BA in Communication, University of Missouri, 2001 MFA, San Francisco Art Institute, 2012
… so why do I do this, this thing called art? Well, to be perfectly honest, I don’t know why, but no matter what I do, I keep coming back to painting, so I do it, good or bad, and without it, I’m just not good… I was born in the mid-1950s, so I’ll start there and move forward to what might be meaningful today, in the 21st century, in painting.
The Mona Lisa – 2011 – Oil on canvas 72 x 48 inches
DOUGLAS Y EE
born San Francisco, California, 1955
education MArch in Architecture, New School of Architecture and Design, 2007; BFA in Painting, San Francisco Art Institute, 1987 MFA, San Francisco Art Institute, 2012
SAN FRANCISCO ART INSTITU TE V ER N I S S AG E M FA G R A D U AT E E X H I B I T I O N T he P ho enix Hotel S a n Fr a ncisco Ma y 11-13, 2012 SFAI’s graduating MFA students transform the iconic Phoenix Hotel for the annual MFA Graduate Exhibition, displaying their art in guest rooms, poolside, and throughout the hotel. The exhibition unveils and showcases diverse, ambitious work by the next generation of artists from this celebrated school.
Yasuyoshi Sakamoto SFAI Rooftop – 2010 – From the series Fishing The Sky
Warmbaby Wouldn’t It Be Nice… – 2012 – Spyglass peephole installation commissioned for the MA Collaborative Project’s Mid-Market Art Project Photographed by Kim Cook
M A S T ER OF A RT S / T H E SIS PROJ EC T S
Some of the Most Important Things We’ve Tried to Teach You and/or Learn from You During Your Time at SFAI
1. 2. 3. 4. 5. 6. 7.
CL A IR E DA IGL E
Director of MA Programs Co-director of Low-Residency Graduate Programs
11. 12. 13. 14. 15. 16. 17.
Always lead with the images and objects. Look closely, critically, and generously. Be resourceful; a little creativity and hard work will carry you miles further than a big budget. If you’re at an impasse with your work, read. Don’t forget to put fiction and poetry on the bookshelf next to your Foucault. Deadlines produce enabling anxiety. Trick yourself into believing you have deadlines even when you don’t. Take your own sweet time. Binaries don’t exist, only incremental differences, specificities, and fruitful paradoxes. Have the courage to be as peculiar as you truly are. Don’t hide what’s likely your best stuff. Take a page from our most beloved ghost, George Kuchar. Ride a bike. Be someone others consistently describe as “a character.” Get Mr. Dominic to paint you some demented eyebrows. Don’t worry too much about the loan payments. An excellent education will always be the best investment you ever made. (I’ll be paying off my school loans until I’m 72, really, and I never regret that.) Make mixtapes for your friends. (I’ll be waiting by my mailbox…) Proofread. Try to be funny even if you can’t pull it off. Carry your weight and learn from cocollaborators. Don’t plagiarize. There’s plenty of intellectual property to go around. Write the most purple, proliferative, and poignant prose possible, but edit and edit and edit and edit… Don’t be afraid of color; go for motley and spangled and Kodachrome and Technicolor. Never wear black to openings.
18. Brake for whatever the bumper sticker in front of you tells you to. (This one’s just a metaphor for “stay safe.”) 19. Choose your role models wisely. (I did. Mine are my father, Bert Daigle, and Dean Przyblyski). 20. Keep in close touch with your classmates and faculty. SFAI, in all its persistent quirkiness, will always be here and with you. 21. Try to learn at least as much from your students as you teach them. 22. Think the contemporary moment historically. 23. Use outmoded technologies once in a while. 24. Gems inhabit the archives. 25. Theory is a toolbox. Use the right tools for the job—but only one at a time. 26. Escape the White Cube. 27. Wander off into popular culture and back (or not). 28. What matters lies between disciplines, cultures, and genres; in the footnotes; in between the lines; and on the street. 29. In thought, no trees, just rhizomes. Otherwise, trees are good. 30. Have a strong work ethic, but don’t take your job too seriously. Do think relentlessly of your work as deadly serious. In the best-case scenario, your job will be your work, but it doesn’t always turn out that way. 31. Any tale could always be told otherwise. No master narratives, only little stories. 32. Art outruns our ability to verbalize it, but keep trying. 33. Listen and look for the message, but don’t miss the grain of the voice or texture of the paper. 34. Get howling wild, rip-roaring drunk, and dirty, but don’t hurt others. Stay out of any kind of prison. 35. Be meta-, multi-, omni-, poly-, trans-. 36. Resuscitate the avant-garde. 37. Look south and west of the West and let Paris burn. New York, too.
38. We live squarely in the present, not post- anything. 39. Use the dictionary; etymologies are mother lodes. 40. Don’t be fearful of being alone. Like Agnes Martin, turn your back to the world sometimes. 41. “There is no solution because there is no problem.” (Marcel Duchamp) 42. Practice everyday life as performance art. 43. Take on strong opponents and respect them. 44. Know it inside out, but never mind the canon. 45. Make a little space for your voice in the room on the first day. 46. Travel whenever and as widely as possible. Learn other languages. 47. The big picture is important only infrequently; it’s actually all in the details. 48. Carry no shame or regret. 49. Support other writers, artists, and curators in any way you can. 50. Take good notes. 51. Remember Rube Goldberg, and if you don’t recognize that reference, look it up. 52. Make lists. 53. Avoid being platitudinous. 54. Overuse superlatives and never miss an opportunity to express your gratitude and affection. (You’re the most beautiful, the most brilliant, and the most amazing students we’ve ever had, and I love you guys like crazy!). You’re going to be so much better than fine. As always, looking forward…
Photograph by Mark Johann
R EBECCA A HR ENS
Hotel Stationary: Sociality and Service in Contemporary Art The hospitality industry offers a model of interrelationships between individuals in a contemporary system of globalized capital. Have the engines of global capitalism simply corrupted the human capacity for hospitality, or is there a more complicated (and perhaps more uplifting) relationship between the two? I take up the problematic of the hotel and artists who use the hotel and the hospitality industry as conceits in their work in order to investigate how those spaces, and the conventions of the hotel as an institution, intersect with those of the art institution. While the parallel between the physical spaces of the hospitality industry and those of the art world is not often acknowledged, artists in the course of the last half-century have, for one reason or another, been compelled to produce reenactments of and interventions into maneuvers of the hospitality industry and its pseudo-individuated spaces. Because the hotel is a place that creates a particular type of artificed privacy and publicness, the hotel subsumes relations of human sociability under mechanisms of a capitalist economy, specifically tourism and the larger effect of late capitalism in enforcing a culture of nomadic workforces and global, transient leisure.
Los Angeles, California, 1988
I examine how the individualâ&#x20AC;&#x2122;s role, as guest and as host, performs sociality within larger infrastructures. Allen Ruppersberg confirms the relationship between hospitality and installation art; Sophie Calle, in becoming a hotel maid, transgresses the conditions of the guest/host dyad to produce a kind of institutional critique; and Lee Mingwei, in his work, invites guests into the gallery or the museum as a means to define the position of participatory art in a globalized economy. These works speak to the different layers involved in inhabiting a present context and to a negotiation of conviviality within situations that are now typical of a certain itinerancy that enables an international art world. A history of contemporary art that uses the trope of the hospitality industry will parse the sociality of the guest/host relationship as it emerges alongside changes to how the spaces designated for artâ&#x20AC;&#x201D;the determining influence of hospitality on the way artists imagine and address their publicsâ&#x20AC;&#x201D;function in relation to changing socioeconomic conditions.
BA in Art History, University of California, Los Angeles, 2010 MA, San Francisco Art Institute, 2012
SHEEK A AR BU THNOT
Where? There. Ana Mendieta. Citing Performance/Performing Citation across Three Generations of Contemporary Cuban Art Focused on Tania Bruguera’s decade-long project Tribute to Ana Mendieta, this thesis stresses the pivotal role the project played in producing and circulating Ana Mendieta in the cultural consciousness of Cuban conceptual art. The objects of inquiry of this thesis include the work of Ana Mendieta (1948–1985), Tania Bruguera (b. 1968), Jeanette Chávez (b. 1980), Naivy Pérez (b. 1986), and Marianela Orozco (b. 1973). Recognizing distinct visual citations of Mendieta’s early performances in three works of Chávez, Pérez, and Orozco, I examine the influence that Bruguera’s reperformance of Mendieta has had on contemporary Cuban art and the narrative of Mendieta in Cuba. Applying theories of signature, citation, and différance to art history and practice, I explore contemporary understandings of performance, documentation, memory, originality, and presence and absence. Bruguera’s Tribute to Ana Mendieta is crucial to looking at the influence of the Cuban-born, American artist Ana Mendieta, and her influence on contemporary Cuban art. What is the impetus for and effect of citing Ana Mendieta’s visual signature for 21st-century Cuban artists? How has this citation provided an alternative historical narrative of Ana Mendieta?
Marianela Orozco Settlement – 2006 – C-print 38 x 57.5 inches
Image courtesy of the artist
Sebastopol, California, 1979
BA in Art History, Mills College, 2002; French Immersion in Art History, Institute of American Universities, Avignon, 2001 MA, San Francisco Art Institute, 2012
CA N DACE C U I
Bridging the GAP: Audience Interaction in the Digital Age and the Google Art Project As institutions change, the exhibition of artworks correspondingly shifts, using processes of interaction to communicate new messages of value and knowledge to audiences. With the expansion of museum programs to include new curatorial methods, customer service representatives, and finance specialists, it seems that the museum and its artwork can no longer stand alone as an attributed progenitor of cultural significance. More often than not, museums are turning to the digital world as a sphere of influence. It may appear obvious for museums to take on the same modes of communication frequently utilized by their audiences, but the use of any newly developed mode of circulated information has its own set of problems and constraints. The Google Art Project website—a juncture for many issues in cultural distribution and museological theory—launched in February 2011. Through Google’s “street-view” and “zoom” technologies, users engage in a digital space rendered from images of museum interiors and are provided with the
born Yangzhou, China
option to magnify certain artworks. The effect of this technology on perceptions of physically visiting museum spaces, and the dialogue formed around the term “accessibility” between Google and the museums, generate larger questions regarding the effects of digital interaction on art and audiences. By analyzing the statements of its creator, Amit Sood, I question the project’s intentions and the means through which its goals are expressed. The problem of responsibility in particular is my focus, as cultural production passes into ambiguous and fractured hands while communication between artists, institutions, and audiences crosses from one source to another with rapid speed. It is an issue of intention, distribution, and processing that has many players and that produces new ways of viewing and discussing art. Examining the needs of a museum and its audiences in finding new ways to interact, and the subsequent factors in choosing to align with contemporary cultural juggernauts like Google, may irrevocably change the way culture is collected.
education BA in Art History, University of Central Florida, 2010 MA, San Francisco Art Institute, 2012
H A DA S S GER SON
Re-illumiNATIONS: Political Imagination in Contemporary Visual Art at the 54th Venice Biennale This thesis examines how several contemporary artists reconfigured the representation of nationalistic conventions that define political imagination in the context of the 54th Venice Biennale. Throughout its 114-year history, the Venice Biennale has structurally linked political imagination to the idea of national identity, but in the 2011 iteration of the event, artists such Yael Bartana, Sigalit Landau, and the anonymous creators of the Anonymous Stateless Immigrants Pavilion presented work that sought to reframe the topic of disputed nation-state borders in relation to the people who reside within those borders. These artists exhibited works that illuminated the complexities of disputed borders, while also suggesting imaginative alternatives for the resolution of intractable political conflicts.
I also analyze the varied ways these artists instrumentalize and, in turn, are instrumentalized by, government-sanctioned cultural distribution entities that operate through the Biennaleâ&#x20AC;&#x2122;s organizing principle of national pavilions. Additionally, these three case studies are explored in terms of how their exhibited artwork analyzes, leverages, and counter-leverages the dual systems of national affiliation and international art fair in which they operate. My research will support the assertion that, within the context of the 54th Venice Biennale, politically imaginative artistic gestures have succeeded in re-illuminating both the idea and political reality of contested borders in relation to the problematic status of the 21st-century nation-state.
In this paper, I provide an analysis of the divergent but sometimes parallel visual methodologies that each of these Biennale participants used to characterize and reformulate the normative narratives of conventional political imagination.
born Dayton, Ohio, 1984
education BA in Sociology, Minor in Fine Art, George Washington University, 2007; Coursework in Czech Art and Architecture, Photography, and International Organizational Behavior, Charles University (Univerzity Karlovy), Prague, 2005 Dual Degree MA/MFA, San Francisco Art Institute, 2012
N A DI A K H I SM AT U L I N A
Crude Politics: Post-Soviet Sites of Aesthetic Radicalism FSB (KGB), undertaken in June 2010 in Saint Petersburg, Russia, by Voina, the name under which Alexej Plucer-Sarno, Oleg Vorotnikov, and Natalia Sokol created and performed numerous actions throughout 2006 to 2012.
Voina Dick Captured by FSB – 2010 – Painted within 23 seconds on the Litejny drawbridge (Saint Petersburg, Russia); state authorities removed the work the following morning Photographed by Voina Image courtesy of the artist
Anonymous In Step with Time – 2011 – Painted anonymously onto Monument to the Soviet Army (Sofia, Bulgaria); the work remained on site for three days Photographed by Ignat Ignev Copyright of Creative Commons
This thesis focuses on radical street-art activities currently playing out in Eastern Europe and Russia. It argues that, while such works might be precipitately referred to as vandalism, it is more prudent to read them as drastic aesthetic statements that retort the predicaments of newly-nationalized, post-Soviet environments and reenact the antagonisms incident to the corresponding processes of social, cultural, and political (self-)determination. The commitment to frame these circumstances as “crude politics” is meant to recognize the inchoate struggle of nascent publics for political credit and the absurdly appropriate use of “artless” vernaculars in the corresponding aesthetic representations. The project examines two recent street art “crudities”—the anonymously authored In Step with Time that was manifested in June 2011 in Sofia, Bulgaria, and Dick Captured by
born Yekaterinburg, Russia, 1988
In Step with Time, a symbolic attempt to dismantle the remnants of Soviet monumentality with kitschy commercial references, reflects the historic struggle of the Bulgarian nation for independence. Yet, as it crudely paints the comic faces of this new history— those of Ronald McDonald or Superman—various minorities and majorities are introduced into public consciousness. Likewise, Voina’s crude intervention can be read as a corollary to changing political intonations in contemporary Russia. The obscene visual rhetoric of Dick Captured by FSB pointed at the indecent political habits and institutions that the young Russian state inherited from the USSR, and presciently foretold the then-upcoming political abuses of the Russian electorate, which culminated on March 4, 2012.* Voina’s activities were considered illegal by the state, resulting in the group’s detention. At the same time, local and international art communities rehabilitated Dick Captured by FSB as an important artwork. In these conflicting judgments, new political forces emerge. *The date of the latest presidential elections in Russia.
education BA in Philosophy (Aesthetics), Ural State University, Yekaterinburg, 2010 MA, San Francisco Art Institute, 2012
COLE M. ROBBINS
Volatile Traversal: Explorations of Home and Body Bound by Recollection this is an auto-ethnography, a testimonial of a woman’s life as an artist where ideas begin in sketchbooks scribbled ink stains the layered pages promises to herself while traversing everyday routines from the commute between cities and towns to the rollercoaster of emotions buried memories resurface consideration of home and the places in between against the odds, into the questions, experiencing life hands on, heart on a sleeve, in a ripped pair of jeans, stomping on sidewalks in steel-toed boots treading barefoot on backcountry trails keeping the rubber to the road on two wheels carrying herself through the Cascade Mountains slowing down the pace, climbing the challenges balancing her body, against the wind anticipating gravity guiding her descent into the blur of painted white and yellow lines crossed over, dotted, and doubled her heartbeat pounding against the pavement holding onto the heat of the flames wood crackling, smoke disappearing clearing a space to occupy, marked on a map a record of events scattered, sent across the miles connections linked and locked in time chained like conversations across her body
Similar to the two-dimensional maps where lines connect, cross over, and organize information are the lines marked by symbols, borders, and lifestyles across different regions, states, and countries that overlap. What is often not recognized or discussed are the SECRETS SWEPT UNDER THE FREEWAYS. We drive at high speeds, ignoring the painted-on signs meant to remind us of the dangers and how quickly and easily OUR BODIES CAN BECOME A CASUALTY. Posted warnings are not enough to sound the alarm for the majority of tourists and consumers. Today, the derailed economy is evident. Its FAULTY FOUNDATION is obvious through shattered windows, left without plywood, in houses that were recently and are no longer SOMEONE’S HOME. The house no longer shelters bodies from the storm, no longer keeps you warm, no longer welcomes you home—because you are not invited into the space containing the MEMORY of the moment it was taken away and given to no one. Cole M. Robbins Collected Ephemera – 2012 – Photograph
Image courtesy of the artist
www.colemrobbins.com born Grand Rapids, Michigan, 1981
education BA in Art, University of Alaska, Anchorage, 2005 Dual Degree MA/MFA, San Francisco Art Institute, 2012
E M I LY S H A L L M A N
Reaching for the Arts: Unequal Access in Contemporary Arts Education and indispensable academic subject. Additionally, this project engages a comparative analysis of three San Francisco public elementary schools, each in a different state of affluence. The case studies and my findings evaluate children’s access to the quality and quantity of arts education in urban areas based on socioeconomic factors and situate this information in dialogue with current arts and education theory.
View from the Outside – 2012 – From left to right: The exteriors of Sherman Elementary School, Harvey Milk Civil Rights Academy, and Mission Education Center Photographed by Emily Shallman
The future of arts education—whether visual art, music, dance, or drama—is on unstable ground in the current public educational system in America. The recent economic crisis, educational reforms, increased student populations, and varying educational policies have all contributed to the disintegration of arts education. Though arts education has been repeatedly shown to be vital to a child’s development, it is still not an integral part of public schools. Children’s access to arts education is unequal as schools vary in funding, curriculum, parental support, and values. This project addresses the current state of the arts in the broader educational system by introducing a brief history of arts education in American public schools. This history highlights the continuous struggle the arts have had to be integrated into the daily curriculum as well as prove their value as a unique
born Seattle, Washington, 1987
The market is currently demanding individuals capable not just of performing basic skills, but of synthesizing information, generating innovative solutions to global issues, and creatively approaching business strategies and products to sustain and engage consumers. The arts are at the heart of this solution. The market is demanding the skills, knowledge, and persistence that is unique to arts learning. The market is demanding the arts, and American schools must heed the call. In order for arts education to be successful, the public school system needs to shift to incorporate the arts as the backbone of its curriculum. Instead of inserting arts education into a system that has neither the time nor the money for it, the system must change to meet the demands of the market. It is time for the arts to have a significant place in the daily curriculum of public schools.
education BA in Elementary Art Education, Western Washington University, 2009 MA, San Francisco Art Institute, 2012
A LICI A SOJA
Raiders, Erasures, and Crusaders: The Collection, Re-Collection, and Constitution of Iraq’s Cultural Heritage Cultural heritage is an inherent legacy shared by a community. Cultural property is the manifestation of this history, which can provide social cohesion, expression, and support. The region known today as the modern state of Iraq has witnessed several chapters of tribes, kingdoms, empires, and dictatorships of diverse ethnic groups, each installing their own values, boundaries, traditions, and ancestry. This project examines various political groups’ attempts at a continual erasure and redefinition of Iraq’s cultural identity through the manipulation and exploitation of Mesopotamian history and antiquities, as ideological devices of national identity and consolidation of control, to create an imagined
born Springfield, Massachusetts, 1984
collective ancestral memory and a national future legacy. The looting of the Iraq National Museum’s collections during the 2003 United States-led Coalition’s armed conflict drew attention to the practice of redefining heritage through the context of cultural identity and memory to continually reconstruct an imaginary community. This project analytically examines attempts to constitute a national recollection through the manipulation of heritage. In it, I discuss the modernization of Baghdad, the reconstruction of Babylon under Saddam Hussein, and the 2003 invasion. I further examine the contemporary artists Qassim Sabti and Azar Othman Mahmud, who represent both this historical emphasis and the future of a uniquely “Iraqi” culture.
education BA in Art History and Studio Arts, Wheaton College, 2007 MA, San Francisco Art Institute, 2012
M ASTER OF ARTS COL L A BOR AT I V E PROJ E C T
The Mid-Market Art Project Presents: Storied Sites: Architecture, Politics, and People Mid-Market Neighborhood, San Francisco Diego Rivera Gallery, San Francisco Art Institute faculty
Meg Shiffler ma students
Rebecca Ahrens Sheeka Arbuthnot Candace Cui Hadass Gerson Nadia Khismatulina Orlando Lacro Zoë Martell Cole Robbins Emily Shallman Isabella Shirinyan Alicia Soja
The Mid-Market Art Project (MMAP) is a collaborative endeavor that investigates the role of the arts within the sociopolitical forces of “urban renewal” and its effect on the geographic area in which it operates. Understanding that artists and arts initiatives often remain at the forefront of both city-sanctioned and unofficial neighborhood shifts within the urban landscape, we designed our MA Collaborative Thesis around the premise that arts administrators have a responsibility to actively examine their participation in this process. MMAP contains three distinct and interactive components: (1) research reflecting upon the instrumentalization of the arts in transitional moments of “urban renewal,” (2) site-specific art installations commissioned for the Mid-Market neighborhood of San Francisco, and (3) a project publication that bridges the theoretical and actualized elements of this inquiry.
March–April 2012 (Mid-Market, On-Site Neighborhood Installations) April 15–21, 2012 (Diego Rivera Gallery Exhibition)
These components enabled MMAP to provide reflexive critique and orientation within the current forces of the transitional neighborhood ecology. Through creative engagement within the five-block corridor of the newly minted MidMarket neighborhood, we focus specifically on the dynamics of resident engagement, city-funded incentives, gentrifying agents, and neighborhood re-branding strategies. San Francisco’s MidMarket neighborhood is marked by a statistically high number of vacant buildings with which
we choose to align our project’s programming. Excluded from the official neighborhood economy, but holding strong physical, historical, psychological, and monetary presences, these “idle” spaces tempt political and civic administrators to transform Mid-Market into an arts district. The Mid-Market Art Project commissioned sitespecific artworks from a local artist and two arts collectives that responded to the metaphor of idle space and urban redevelopment. Incorporating interviews and reflections from local residents, each of the three projects emphasizes a specific idle space within the boundaries of the MidMarket neighborhood. Linda Trunzo presents a video projection of her film 9 Flights, a work based on interviews with members of the now-defunct local YMCA. WarmBaby, an international design collective, created the work Wouldn’t It Be Nice, a series of spyglass peepholes inserted in boarded up storefronts through which viewers encounter modeled fantasies of desired spaces inspired by local residents. NODE (Network of Daily Experience), established a one-day Mid-Market Memory Shop where passersby contributed their notions of community for a growing memory archive that defies monetization. These various components culminated in an exhibition of the process and projects at the Diego Rivera Gallery. MMAP’s project publication is available for download on the group’s website: www.midmarketartproject.org.
Hadass Gerson Where Are You Mid-Market? – 2012 – Watercolor and ink on polypropylene 10 x 14 inches Image courtesy of the artist
Locating Mid-Market – 2012 – Photographed by Emily Shallman Image courtesy of MMAP
Portez les Chats â&#x20AC;&#x201C; 2011
Photographed by Carrie Sinclair Katz
A Spectator in the Dark (opposite) â&#x20AC;&#x201C; 2011 Photographed by Mido Lee
SELEC T ED PROJ EC T S
These selected projects record and document the numerous accomplishments, exhibitions, on- and off-campus events, curricular and extracurricular endeavors, and collaborations of SFAIâ&#x20AC;&#x2122;s graduating MFA, MA, and Dual Degree students over the course of the academic year. Through these diverse and compelling initiatives, the students not only shape the graduate community at SFAI, but also influence the Bay Area art community at large.
E X HIBIT IONS
Where To? The Call of the Times: The New Generations Student Showcase at the de Young Museum
de Young Museum, San Francisco graduate student
Oren Lukatz April 22, 2011
Oren Lukatz’s photograph Road Closed Ahead was selected for exhibition in the de Young Museum’s 2011 New Generations Student Showcase: Where To? The Call of the Times. The exhibition addressed the various ways in which communities are responding to the pressing social issues of our time, such as the recession, human rights, and climate change.
Oren Lukatz Road Closed Ahead – 2010 – Archival inkjet print 27 x 40 inches
Image courtesy of the artist
Lukatz’s photograph shows a man pushing a shopping cart in a Las Vegas, dead-end alleyway, ignoring a road sign that reads “Road Closed Ahead.” The decaying landscape in this image becomes a marker
of the economic downturn, while the man’s cowboy hat translates as an icon of the ideals of the American West. These two oppositional elements, existing within the same frame of the photograph, raise the question: Where are we headed? Lukatz’s photograph won third place at the showcase among over 50 artworks in various media.
Art Chicago 2011: New Insight
Art Chicago, The Merchandise Mart graduate student
Oren Lukatz April 29–May 2, 2011
Each year, students from the San Francisco Art Institute are invited to apply to Art Chicago, which annually features an exhibition showcasing emerging talent from the best MFA programs in the country. In 2011, MFA candidate Oren Lukatz’s series The Violent Season was selected for inclusion in Art Chicago’s New Insight exhibition. The project consisted of night photographs that were taken on the beaches of Tel Aviv, Israel, Lukatz’s former hometown, during the summer of 2010.
Lukatz makes the following statement about the project: Summer in Israel is a violent season. The unbearable Mediterranean heat during the day, and the constant urge to fight it, is mixed with an ongoing worry for one’s personal safety and security. At night, the air cools down and a sea breeze comes in. Along the boardwalk of Tel Aviv, people allow themselves to stay late at the beach or just stroll along. Guillaume Apollinaire, a French poet from the early 20th century, once wrote: “Summer is here, the violent season, and my youth died in the Spring.” These words express the approach I took photographing the beaches of my former hometown: partly as a local, partly as a tourist—always divided and split.
Oren Lukatz The Violent Season – 2010 – Archival inkjet print 22 x 33 inches
Image courtesy of the artist
Oren Lukatz The Violent Season – 2011 – Installation view of the exhibition Photographed by Oren Lukatz
3 3/4” IPS (notch 57)
Queen’s Nails Projects, San Francisco faculty
Julio Cesar Morales graduate student
Miles Ake other participants
Sarah Beadle Ping-Hsiang Chen Satomi Nagata Keith Pasko Marcus Perez Roby Saavedra Kim Silva J. R. Valenzuela July 15, 2011
3 3/4” IPS (notch 57) – 2011 – Photographed by J. R. Valenzuela
For the event 3 3/4” IPS (notch 57), the culinary-based performance ensemble notch* utilized a particular speed of magnetic tape recording as a framework for a sixcourse dining intervention at Queens Nail’s Projects. In opposition to the convention of the tasting menu as a chronological score, 3 3/4” IPS used the menu as a proposed track list of individual compositions to be shuffled and re-played. The dining experience was layered upon itself, creating simultaneous feedback loops throughout the evening. The event was an exercise in the confluence of past, present, and future that erased and redrew the line of the menu over the course of the meal. The performance 3 3/4”IPS (notch 57) is a continuation of a series of itinerant culinary and service interventions by notch.
1/4” fragment: Foie gras torchon, carbonated cherry compote, star anise strip One, two, three, or vice versa: Arctic char, salt, smoke Cc: Pickled fluke, avocado mousse, radish, orange, coriander powder Recto verso: Squid ink tagliatelle, poached egg, fennel, bagna càuda Quarter to three: Celery root bisque, rabbit confit, dehydrated herbs, pickled pluot Course one: Bay leaf custard, pancetta sabayon, spiced cornbread crumbs, vanilla foam
Image courtesy of notch
*The moniker notch is both the name of an ensemble and their performances; notch operates in both San Francisco and Los Angeles, where it was formed in 2007.
Go to Your Room! and Spilled Milk
Swell Gallery, San Francisco Art Institute Diego Rivera Gallery, San Francisco Art Institute graduate students
Joshua Band Carrie Sinclair Katz Zach Mitlas Kristen F. Perkins Janice Suhji August 22–September 2, 2011 (Swell Gallery) September 11–17, 2011 (Diego Rivera Gallery)
Go to Your Room! – 2011 – Zach Mitlas and Janice Suhji installing their work in the Swell Gallery Photographed by Joshua Band and Kristen F. Perkins
Combining painting, photography, video, performance, and sculpture, the linked exhibitions Go to Your Room! and Spilled Milk explored the interior domestic landscape by transforming the Swell and Diego Rivera galleries into a reflection of the utopian, imagined, and remembered household. The artists modeled the Swell Gallery after the conventional domicile, producing their own interpretation of the spaces and elements traditionally found within a home’s floor plan (for example, the kitchen, bedroom, bathroom, dining room, living room, and garden).
In Spilled Milk, in the Diego Rivera Gallery, the artists continued to focus on the theme of domesticity, responding to the works generated in Go to Your Room! as an impetus to create new works. These works sought to expose and challenge notions of domestic life, the family, ritual, relationships, and power structures within the home.
Spilled Milk – 2011 – A panoramic view of the Diego Rivera Gallery installation Photographed by Joshua Band and Kristen F. Perkins
F L AG S TOP Alternative Contemporary Art Fair, Los Angeles The FLAG STOP Alternative Contemporary Art Fair is a community art event that invites highly innovative artists to perform or install their works in a period of one hour in an 8 by 16 foot PODS storage container. The projects are then viewed by renowned Los Angeles curators Scott Canty, Howard Fox, and William Moreno, among others. SFAI students participated with two exhibitions:
Omer Gal Carrie Sinclair Katz Vanessa Vaughan September 1–4, 2011
Night Pods – 2011 – FLAG STOP at night
Photographed by Carrie Sinclair Katz
okyouhaveonehourgo was an opportunity for emerging artists to share their work at an international art event. A revolving performance and video exhibition held in a micro-gallery, this project sought to explore the most obscure media to promote an experience of art that was not only unique, but exceptional as inter/ intra-linguo sensory art practices. The exhibition was curated by artist Imagici.
Portez les Chats
Tim Sullivan graduate students
Joshua Band Lee Hunter Laura Hyunjhee Kim Carrie Sinclair Katz Jennie Lennick Emilie Puttrich Vanessa Vaughan other participants
Rachel Elise Dale Hoyt Kathy Knebel Julie Michelle Eisuke Muroga September 1–4, 2011
Portzez les Chats, curated by Carrie Sinclair Katz, explored interspecies communication between the human animal and the domesticated cat. Privileging the cat audience’s sensory capabilities and limitations above our own—the species is nonchalant, fussy, and judgmental (while also being intelligent, poised, and observant)—the exhibition called into question the gallery format itself.
Considerations for the feline viewer were many: dimmed lighting to accommodate the strong points of their vision; color selection and exclusion; spatial arrangement to allow full access to each piece; deliberate use of motion; dampened ambient sound; peripheral accommodation; appealing scratchbenches, and more. Interested collectors were encouraged to select works with the feline member(s) of one’s household in mind. The exhibition asked curators and viewers: Think the art world is fickle? Try appealing to the feline.
Portez les Chats – 2011 – People of all ages get down on their hands and knees to see and experience the exhibition Photographed by Carrie Sinclair Katz
Swell Gallery, San Francisco Art Institute
Omer Gal Lee Hunter Sandra Osborne Savanna Snow Vanessa Vaughan September 4–17, 2011
What Remains – 2011 – Installation view of the exhibition Sandra Osborne (Below) what is this has done this (Detail) – 2011 – Unglazed basaltic clay, paper (recycled coffee filters), glazed stoneware, thread, and various found objects Dimensions variable
Omer Gal (Above, right) “Shhh…, Mist man’s alive” (Detail) – 2011 – Ceramic, velvet, wood, latex, and hair 72 x 11 x 12 inches
Photographs by Joshua Band and Kristen F. Perkins
The philosopher Slavoj Zizek, addressing contemporary representations of death, criticized the tendency to place a figure at the edge of a field, about to slip into the woods, thereby transforming a story of death into a story of escape and redemption. Standing fast in the field of death, the artists in this show
addressed the incomprehensible subject of their own death, the irredeemable loss of others, and the political, social, and environmental grief that permeates contemporary culture. Melancholy, yet not nihilistic, this show considered what the dead have to offer the living and why it matters.
Southern Exposure (SoEx), San Francisco graduate students
Joshua Band Jon Gourley Sandra Osborne Michelle Ramin Ryan B. Wylie September 16–October 8, 2011
Proof – 2011 – Opening night of the exhibition Photographed by Joshua Band
Ryan B. Wylie (Below, left) Texas Summer – 2010 – Looped video with sound 4 minutes
For the 20th anniversary of its entry fee–free juried exhibition, Southern Exposure invited Northern California visual artists to respond to the theme Proof. No further instructions were given; as SoEx’s call for artists stated: “The theme and the media are left open to the artist’s interpretation in hopes that the work is conceptually and aesthetically diverse, drawing from as many insights and forms as possible.” From over 500 applicants, guest juror Denise Markonish, Curator at Mass MoCA, chose the work of 47 artists for the show, including the work of five current SFAI MFA students: Joshua Band (Photography), Jon Gourley (Printmaking), Sandra Osborne (Sculpture), Michelle Ramin (Painting), and Ryan B. Wylie (Film).
Michelle Ramin (Above) Mel and Mike (Detail) – 2011 – Colored pencil on paper 22 x 30 inches
Swell Gallery, San Francisco Art Institute
A Spectator in the Dark
Joshua Band Elizabeth Cunningham Omer Gal Jamie Hull Mido Lee Duo Peng Tim H. Pinault Geoffrey Traxler Lindsay Tully Ryan B. Wylie staff
Brad Hoffarth other participants
James Calder Chen-Ying Wang October 6–14, 2011 A Spectator in the Dark – 2011 – Installation view of the exhibition Photographed by Mido Lee
A Spectator in the Dark challenged the logic of the white cube. In this exhibition, light acted as a linking mechanism, forging connections between viewers, video installations, and interpretations of the world. The exhibition took place in utter darkness; the works themselves illuminated and carved out the exhibition space, shaping the viewing experience.
Omer Gal The Helicopter Attack – 2011 – Mixed media and performance Dimensions variable Photographed by Joshua Band
Image courtesy of Joshua Band, Omer Gal, and Mido Lee
The Presence of Absence: Complementary Strategies Engaged With Memory
Diego Rivera Gallery, San Francisco Art Institute graduate students
Lisé Currie Sandra Osborne Rachel Mica Weiss October 10–15, 2011
The Presence of Absence – 2011 – Installation view of the exhibition Photographed by Joshua Band and Kristen F. Perkins
Lisé Currie – 2011 – Installation view of works by Lisé Currie Photographed by Joshua Band and Kristen F. Perkins
The Presence of Absence was a collaborative exhibition that considered the tangible and intangible remnants of the past, the distant, and the lost, and the ways in which these elements haunt the present. Through diverse materials—fiber, textiles, porcelain, paper, and found objects—the artists examined the object as a site of meaning and experience through which memory is accessed.
Diego Rivera Gallery, San Francisco Art Institute
Obsolescenteds: A Group Show of Paintings
Patrick Donovan Joël Frudden Zack Mitlas October 16–22, 2011
Obsolescenteds – 2011 – Exhibition reception and installation view of the exhibition Photographed by Caroline Mitlas
Obsolescenteds presented the work of three artists as an expression of their belief in the relevance of a “painting show.” The role of the medium of painting in imagistic mimesis is questionable today, while installation enjoys the endearment of contemporary taste. Still, the crush on painting sensibilities perpetuates. With this in mind, Donovan, Frudden, and Mitlas explored the possibilities of paintings grounded in representation, the potential of the diptych, and the integration of image-objects within an exhibition space. Furthermore, the artists were determined that their painting show be representative of the political climate: a post–Arab Spring period of unceasing war, rising unemployment, felonious financial practices, and the birth of the Occupy Movement.
The gallery was filled exclusively with oil paintings, primarily large and immersive, with chromatic variations on red, black, and grey. Most works were installed traditionally, but others hung tilted, cornered, or leaning, and the gallery floor was littered with black balloons that would roam about the feet of viewers, loudly popping on random occasion. The result of all of this was a paradoxically ominous and buoyant environment in which to think about painting. This environment was also complemented by the themes of the paintings, which revolved around memory and its measurement, threat and imbalance, and the denial and annihilation of space.
Diego Rivera Gallery, San Francisco Art Institute graduate students
Seulhwa Lydia Eum Mido Lee Hyeyoung Maeng Janice Suhji October 23–29, 2011
Mido Lee Ones (Installation View) – 2011 – Mixed media Dimensions variable Seulhwa Lydia Eum The Most Mundane Epic – 2011 – Monoprints on silk 100 x 200 x 200 inches
Hidden Stories was an exhibition of contemporary female, Asian artists: Seulhwa Lydia Eum, Mido Lee, Hyeyoung Maeng, and Janice Suhji. The works in the exhibition explored how Asian women deal with oppressed emotions and contained memories resulting from the conservative and secretive nature of traditional Asian culture. For this exhibition, the artists pushed beyond their comfort zones with the creation of works that spoke to intimacy and secrecy, the personal and the public. In Hidden Stories, nostalgia, love, and personal anecdotes, once set aside and labeled insignificant, were transformed as art and brought to light in a public setting. Eum dealt with the idea of secrecy and
memories contained within the home environment, with the display of a sculpture of a house patched with silk monoprints; Maeng exhibited three oil paintings and a 10-foot-high friendship bracelet, as a means to address the relationship she has with her 10-year-old daughter; Lee unveiled images she has made over the course of her life that had never previously been shown to others; and Suhji presented six white frames with white doors that concealed evocative scenes within—staged photographs of a man in a seedy motel room in California. The works in the exhibition were quiet, yet assertive, and pointed to the complex nature of secrecy, memory, and emotion.
Diego Rivera Gallery, San Francisco Art Institute
The Endless Present
Lisé Currie Danielle Gravon Dara Lorenzo November 7–12, 2011
The Endless Present – 2011 – Installation view of the exhibition Photographed by Dara Lorenzo
Danielle Gravon Finding Piece – 2011 – Etching, thread, and needles Dimensions variable
The exhibition The Endless Present featured print and sculptural work by a group of artists demonstrating a fascination with serial-based practices and the everyday—the “endless present” of daily existence. The presentation contemplated issues of identity, mortality, and temporality, with a focus on process. By emphasizing process, the artists sought to display the dialectic between the individual and the multiple. The work focused on the emotional significance of identity and how individuality is maintained or lost.
Film Premiere of The Pathology of Civilization
La Sala Rossa, Montreal graduate student
Kenneth Thomas November 21, 2011
The Pathology of Civilization – 2011 – Montreal avant-garde music duo Hangedup play in front of a projection of Kenneth Thomas’s The Pathology of Civilization Photographed by Aponeurotica Design Copyright of The Scourge Productions Image courtesy of Kenneth Thomas
The Pathology of Civilization – 2011 – Burned 16mm film still
Copyright of The Scourge Productions Image courtesy of Kenneth Thomas
Kenneth Thomas was commissioned to create 30 minutes of original film to accompany a unique performance by avant-garde musicians Hangedup. The resulting film was projected during a rare appearance of Hangedup in their hometown of Montreal before a sold-out theater. Stemming from Thomas’s experimental film series Pathology of Civilization, created with HD video and intentionally burned 16mm film cells, the visuals were choreographed to keep pace with three of Hangedup’s scores, one of which was created exclusively for the collaboration between the filmmaker and the musicians.
filming the music documentary Blood, Sweat + Vinyl: DIY in the 21st Century, a film expressing a clear message that musical innovation continues to thrive independent of mainstream media and corporate representation.
The relationship between Thomas and Hangedup manifested five years ago when Thomas began
A model of his own message, Thomas was the sole producer, director, and editor of the feature-length documentary, and it was released through his own film company. The film has since been screened in film festivals and movie houses throughout North and South America and Europe, and continues to sell DVDs to a worldwide market.
Gallery of the Department of Painting, Academy of Fine Arts, Krakow
The Bay Area
Tony Labat Julio Cesar Morales graduate students
Miles Ake Piotr Bujak Chris Corrente Laura Hyunjhee Kim Spencer Rabin Anna Marie Rockwell other participants
Witold Stelmachniewicz Grzegorz Sztwiertnia January 6–13, 2012
The Bay Area – 2012 – Installation view of the exhibition Photographed by Zbigniew Sałaj
The Bay Area was an exhibition of video works that explored the current Bay Area art scene, providing Polish audiences with exposure to representative works from the region. Curated by MFA candidate Piotr Bujak, and sited at the Gallery of the Department of Painting at the Academy of Fine Arts in Krakow, The Bay Area used video installations and video screenings to explore the context and meaning of Bay Area creative production. In collaboration with the gallery directors, renowned Polish artists Witold Stelmachniewicz and Grzegorz Sztwiertnia, Bujak brought to light methods of working and thinking that remain unique to the Bay Area.
The Bay Area (Detail) – 2012 – Exhibition poster
Image courtesy of the Gallery of the Department of Painting, Academy of Fine Arts, Krakow
Rebound Bookstore, San Rafael, California graduate students
Allie Blanchard Suwon Cho Lisé Currie Adam Donnelly Francesca Du Brock Seulhwa Lydia Eum Danielle Gravon Erin Hall Carrie Sinclair Katz Dara Lorenzo Tom Loughlin Andréanne Michon Sandra Osborne Naaman Rosen Curatorial Committee
Danielle Gravon Tom Loughlin Andréanne Michon Sandra Osborne staff
Marginalia was a group exhibition of 14 artists responding to the role of text as an (imperfect) intercessor between experience and memory. The exhibition was presented by Rebound Bookstore in San Rafael, California, and No Reservations Art, a new arts initiative of the Graduate Program, initiated by Zeina Barakeh, devoted to connecting graduate students of SFAI to professional opportunities in the art world. Using a broad range of visual strategies—drawing, printmaking, collage, photography, sculpture, video, and performance—the artists explored visual and conceptual relationships to the book as text and cultural object. The exhibition centered on the complex relationship between text and memory,
specifically the idea of text as a site of recollection as well as distortion and loss of past experience. While focusing on the transitive nature of the written word and its limitations as a mediator of meaning, the artists also recognized that new meanings emerge from the experience of writing, reading, and even the presence of books. Following the installation at Rebound Bookstore, the exhibition will travel to various bookstores and literary venues in the Bay Area from 2012–2013.
Zeina Barakeh (Founder and Director of No Reservations Art) Vera Kachouh (Exhibition Project Manager) other participant
Joel Eis (Owner of Rebound Bookstore and SFAI alumnus) April 7–June 1, 2012
Adam Donnelly Edgar Allan Poe: Complete Tales and Poems – 2011 – Pinhole photograph 16 x 20 inches
CUR R ICULAR A ND E X T R AC U R R IC U L A R PROJ EC T S San Francisco Art Institute, Various Locations graduate students
Joshua Band Kristen F. Perkins
Photography Workshops: Expanding Our Photographic Community and Dialogue
Graduate, Undergraduate, and Adult Continuing Education Students, and SFAI Staff Fall 2010, Spring 2011, and Fall 2011
Portrait Lighting Workshop Demonstration â&#x20AC;&#x201C; 2011 â&#x20AC;&#x201C; Sample portrait lighting setups that students were assigned to re-create after demonstration was provided by Joshua Band and Kristen F. Perkins Photographed by Joshua Band and Kristen F. Perkins
Joshua Band and Kristen F. Perkins established an ongoing series of technically based photography workshops. These workshops were presented on a voluntarily basis by post-baccalaureate and graduate students to the SFAI community. The goal was to provide supplementary technical instruction and increase community exchange between graduate and undergraduate students, as well as to provide an opportunity for graduate students to gain experience in formal instruction.
workflow, image management, and digital photography computer software. Students were given hands-on experience with lighting equipment and cameras.
As part of this initiative, and for the last two years, Band and Perkins offered a four-part workshop series taking students through studio portrait lighting, digital
The workshops also greatly increased the sense of community among students at all levels of the Institute and across disciplines.
The workshops resulted in an increase in communication between the post-baccalaureate and graduate students and the undergraduate students and staff members. It also provided tangible teaching experience that has directly resulted in teaching positions for both Band and Perkins.
Nineteenth-Century Photography Workshop
Photography Lab, San Francisco Art Institute graduate students
workshop instructor: Timothy H. Pinault workshop assistants: Courtney Stock Kristen F. Perkins Yasuyoshi Sakamoto other participants
Amber Crabbe Delphine Dallison Ed Drew Christina Dugdale Evan Flynn Toni Gentilli Raul Lira Trevor Reyes November 5–6, 2011 February 26, 2012 Exhibition at the Prentice and Paul Sack Still Lights Galleries, San Francisco Art Institute: February 26–March 3, 2012 In 2011, MFA student Timothy H. Pinault led a three-day workshop in 19th century photographic techniques at the San Francisco Art Institute. The class consisted of a mixture of undergraduate and graduate students creating tintypes as they were made in the 1800s. The images made in the workshop were subsequently displayed in a group show in the Prentice and Paul Sack Still Lights Galleries at SFAI. This show was also curated by Pinault. The workshop covered technical and conceptual issues dealing with the process, and also focused on the modification of equipment to accommodate photographic materials that have come back into
vogue after an absence of 100 years. Each photograph is created in-camera and developed by hand showing the hand of the operator. The resulting image is a unique object that has proven more and more desirable in this age of digital reproduction. Students created their image using an 8 by 10 inch view camera with a Civil War–era lens, a modified 4 by 5 inch camera, a Holga plastic camera, and a homemade pinhole camera.
Nineteenth-Century Photography Workshop – 2011 – MFA student Toni Gentilli practices her pouring technique with expired collodion and a glass plate Photographed by Courtney Stock
Image courtesy of Timothy H. Pinault
Workshop materials were provided by the Student Union and the Legion of Graduate Students and teaching hours were donated by Pinault.
Concepts of Creativity
Elin Bengtsson Chulki Choi Christopher Corrente Marcella Davis Kira Dralle Christina Elliott Melissa Englehardt Toni Gentilli Daniel Jefferies Le Li Li Ma Tony Maridakis Kristen F. Perkins Naaman Rosen Janice Suhji Miao Tian Denise Susanne Townsend Lauren Visceglia Hanhan Zhang December 15, 2011–ongoing
Naaman Rosen Introspective Utensil – 2011 – This image shows the reflection that one sees when peeking into the lens of a microscope altered to mirror the viewer; the closer we look, the more transparent and fractured the layers become as they peek back at us; the eye of the beholder beholds oneself, revealing the distorted truth of how we see and represent ourselves. Daniel Jefferies Constraints and Restraints – 2011 – Oil on panel; mylar, aluminum wire, yarn 18 x 12 inches; 30 x 3 inches
Twenty artists and scholars in Meredith Tromble’s Concepts of Creativity course collaborated on an online exhibition of artworks interrogating the creative process. Works range from Chris Corrente’s video How to Pick Up an Artist, a sly spoof of cultural stereotypes of the creative personality, to Elin Bengtsson’s installation of the creative work she imagined the characters from her paintings would make, to Daniel Jefferies’s Constraints and Restraints, an experiment with creative systems. Exhibition essays were contributed by Kira Dralle and Denise Susanne Townsend, who also orchestrated the collaborative essay that opens the site.
Transdisciplinary Media Salon
SFAI Café and McMillan Conference Room, San Francisco Art Institute faculty
Paul Klein Michael Shiloh Laetitia Sonami graduate students
Laura Hyunjhee Kim Carrie Sinclair Katz Niki E. Korth Sandra Osborne James Mitchell Perley Kevn Tijerina Ryan B. Wylie staff
Sasha Dobbs Kent Long Jen Wainz other participants
Katie Burge Jehn Howard James Howzell Djavan Santos Daniel Yovino In the spirit of Valentine’s Day, the inaugural Transdisciplinary Media Salon, hosted by the SFAI Design and Technology Department, presented select works from SFAI students, alumni, staff, and faculty that involved interactivity in their modes of consumption and production, and that approached the viewer as an active participant or user. This one-night event gave reinvigorated form to transdisciplinarity as a research strategy that aims toward destabilizing disciplinary boundaries while still respecting disciplinary expertise. Participants explored such questions as: What is the role of the viewer as a maker within an art context? Is the viewer always an active participant, at least in the sense of visual perception? How might this be problematized, emphasized, or diversified? How might we enhance the role of the viewer as a user or collaborator within a presentation or exhibition context?
The resulting works engaged with themes of love and sex, the future and the past, Internet fetishes, discourses of provocation, virtual eroticism, seedy motels, gossip, psychoanalysis, monster’s bodies, poetic construction, and much more, through workshops, performances, interactive installations, transmedia experimentation, and audio/visual mash-ups. The Salon also featured an interactive demonstration of SFAI’s new MakerBot 3D printer, introducing many to the transdisciplinary potential of digital fabrication, as well as a prototype demonstration of Laetitia Sonami’s Spring Web, an instrument built around a web of springs analyzed through neural networks that produce sound based on their activity. http://studenthost.sfai.edu/sites/DT_Trans_Salon/
February 14, 2012
Enter: Transdisciplinarians – 2012 – A view of the Café near the close of the evening Photographed by James Mitchell Perley
C OL L A BOR AT ION S Yerba Buena Center for the Arts, San Francisco, 2010; Root Division, San Francisco, 2010; Concrete Utopia, New York, 2010; Biennale de Belleville, Paris, 2010; Pavillon du Musée de l’Objet, Blois, France, 2011; Espace d’Art Contemporain de La Rochelle, La Rochelle, France, 2011; forthcoming, residency at Lindre-Basse, France, hosted by the CAC Synagogue de Delme, Lorraine, France, 2012.
The Big Conversation Space
Niki E. Korth other participant
Clémence de Montgolfier April 2010–ongoing
En Attendant… (la Rochelle, France) – 2011 – de Montgolfier hosts conversations inside an installation of The Big Conversation Space archive. Participants are invited to make a conversation of their own, or to complete surveys regarding Friedrich Nietzsche. Many take the opportunity to confess their deepest secrets to the ongoing record, while others remain determined to sort out complex philosophical problems ranging from speech acts and political betrayal to moral autonomy and new trends in European hairstyles. Photographed by Clémence de Montgolfier
Image courtesy of The Big Conversation Space
The Big Conversation Space (TBCS) is a discursive project begun in 2010 by Clémence de Montgolfier (Paris) and Niki E. Korth (San Francisco), which aims to repurpose the existing platforms of human (and machine) communication and stimulate the development of new platforms for verbal exchange. The architecture of these platforms includes the tools we use to communicate (our bodies, mouths, hands, vocal chords, computers, telephones, videoconferencing systems); the material we draw on or produce through the Conversation (words, native languages, history, biases, hierarchies, fantasy, political investment, insecurity, companionship); and the social and physical environments we inhabit (a street corner, our minds, a park, pool hall, library, living room, metro, the virtual ether, outer space).
TBCS is transdisciplinary in nature and takes multiple forms including conversation sessions, recordings and documents, a website, performances, lectures, publications, workshops, printed materials, texts, narratives, questionnaires, scenarios, motion picture trailers, a regular newspaper, videos and movies, a private investigation service, and an ongoing play. Through a reliance on chance encounters and the observer’s paradox, a perseverant and insatiable thirst for the contradictions inherent in knowledge production and collection, and a commitment to humor, play, experimentation, and collaboration, TBCS aims to go boldly where no project has gone before. www.thebigconversationspace.org
Bones: 20th Street Corridor Crawl
THE THING Quarterly, San Francisco faculty
Will Rogan graduate student
Miles Ake other participant
Keith Pasko February 10, 2012
On February 10, 2012, Meatpaper magazine, in collaboration with local art and food venues, celebrated the release of their 16th issue, Bones, with a multimedia performance event: Bones: 20th Street Corridor Crawl. The event brought together artists and chefs from a range of backgrounds for a bonesthemed evening. In collaboration with THE THING Quarterly, an object-based publication produced by visual artists Jonn Herschend and Will Rogan, MFA candidate Miles Ake created a bones-themed event combining
food, music, and art. For the event, Ake created beef bone 45 record adapters; prepared a meal of bone marrow butter and gremolata with grilled bread; and spun doo-wop, soul, and music from 1960s girl groups. Other local participating organizations included Rebar, Kadist Art Foundation, 500 Capp Street Foundation, Southern Exposure (SoEx), and Salumeria.
Beef Bone 45 Record Adapters – 2012 – Forty-five adapters laser-cut from beef shin bones Photographed by Ashley Ross Image courtesy of Miles Ake
Beef Bone 45 Record Adapter – 2012 – Photographed by Ashley Ross Image courtesy of Miles Ake
ON-CA MPUS E X HIBIT IONS AND LECTURES
Christian Gonzenbach QUARC – Quantum Art Crystal – 2010 – Part of the exhibition Think Art–Act Science in the Walter and McBean Galleries Image courtesy of the Swiss artists-in-labs program
The Swell Gallery is a graduate student-run art space dedicated to the examination of the role of the gallery in an educational sphere. The mission of the Swell Gallery is to provide a venue for the exploration and discussion of varying artistic perspectives from the student body, operating as a platform for exhibition, events, and dialogue. The Swell Gallery is located on the second floor of SFAI’s Graduate Center at 2565 Third Street, and is open to the public. FALL 2011
Go to Your Room! August 22–September 2 What Remains September 4–17
Persona September 18–October 1 A Spectator in the Dark October 6–14 Ecstasy + Architecture October 17–28
Redistributed and Reinterpreted October 31–November 11 Cookie is Inside November 14–25
Hand-Eye Coordination November 28–December 9 SPRING 2012
All You Can Eat January 16–27
Phantasmagoria January 30–February 10
Why Don’t You Talk to Me (?) February 13–24 Grey[___] : Lee Hunter and Vanessa Vaughn February 27–March 19
13 for 13: PSU/SFAI Exchange Exhibition March 22–30 Vessels of Infinite Geometries April 2–6 Odd Piece April 16–27
Crappy Birthday April 30–May 4
Diego Rivera Gallery The Diego Rivera Gallery on the Chestnut Street campus, home to SFAI’s historic Diego Rivera Mural, is a student-directed exhibition space for work by SFAI students. The gallery provides an opportunity for students from all academic programs to present their work or curate in a gallery setting; to use the space for large-scale installations; or to experiment with artistic concepts and concerns in a public venue.
FA L L 2 011
Continuing MFA Show Curated by Emilie Puttrich August 21–August 27 Transcultural Circumstance Curated by Orlando Lacro Cat U-Thasoonthorn, Douglas Yee, Pallavi Govindnathan August 28–September 3 Solo Shows Brian Brown, Oren Lukatz, Elizabeth Cunningham September 4–September 10 Go To Your Room! Joshua Band, Carrie Katz, Zach Mitlas, Kristen Perkins, Janice Suhji, Kenneth Thomas September 11–September 17 Solo Shows Cecilia Vasquez, Melanie Piech, Molly Osborne September 18–September 24 Abstraction Douglas Graupe, Carolyn Jean Martin, Simone Simon, Lana Williams September 25–October 1
Diego Rivera The Making of a Fresco Showing the Building of a City – 1931 – Fresco, 271 x 357 inches
Laboratory of Failure Curated by Hadass Mor Gerson Elin Bengtson, Hadass Mor Gerson, Nadia Khismatulina, Laura Kim, Jenny Lennick, Carolyn Jean Martin, Mie Hørlyck Mogensen, Roby Saavedra, Kathryn Williamson, Seo Kyeong Yoon October 2–October 8 The Presence of Absence: Complementary Strategies Engaged with Memory Lisé Currie, Sandra Osborne, Rachel Mica Weiss October 10–October 15 Obsolescenteds: A Group Show of Paintings Patrick Donovan, Joël Frudden, Zach Mitlas October 16–October 22
Hidden Stories Janice Suhji, Seulhwa Lydia Eum, Mido Lee, Hyeyoung Maeng October 23–October 29 Experiencing Ladakh: A Trip to Northern India Robert Cortlandt, Erin Hall, Michelle Govang, Mary Graham, Lonnie Graham, Samantha Lai, Celia Lara, Kelly Nettles, Yasu Sakamoto, Dana Stanley, Tess Wallace, Linda Connor October 30–November 5 Endless Present Lisé Currie, Danielle Gravon, Dara Lorenzo November 7–12 No Fixed Place: Over 35 Artists from 21 Countries In Conjunction with SFAI’s 3rd Annual International Week Curated by Delphine Dallison, Katya Kan, Carlos Garcia Montero, Manuela Ochoa Ronderos, Saher Sohail, Thea Stevenson, Diego Villalobos, Momo Yao November 13–19 The Archive Machine Blaze Gonzalez, Jordan Dozzi, Timothy Pinault November 20–26 Dear Monument Ryland Cook, Joël Frudden, Pete Hickok November 28–December 3 Place in Space Joshua Band, Douglas Graupe, Cristina Guerrero, Daniel Jeffries, Lana Williams December 4–10 Adult Continuation Education (ACE) Exhibition December 11–17
SPR I NG 2012
Bad Drawing Jennie Lennick, Suwon Cho, Daniel Jefferies, Rebecca Levitan, Pete Hickok, Evan Reiser, Omer Gal, Ray Mack, Vanessa Vaughn January 8–14
The Negotiation Michal Wisniowski, Elin Bengtsson, Francesca Du Brock, Pabi March 18–24
Contemporary Lexicon Sean Kennedy, Chris Corrente, Marissa Takal January 15–21
Reconsidered Space Elizabeth Cunningham, Janice Suhji, Jordan Dozzi, Yasu Sakamoto March 25–31
Down in the Valley Spencer Rabin, Miles Ake January 15–21
Liminals Simone Simon, Nathan Goldsmith, Carina Alia Earl April 1–7
Sol Legit R. Matthew Bollinger, Missy Engelhardt, Dimitra Skandali January 29–February 4
Ecology Sculpture Society Hector Ramirez Lara, Arielle Lemons, Anna Crisafi, Anthony Hernandez, Eddie Drew, Lucca Raventinkie, Charlotte Hodgson, Hank Wang, Brittany Collins April 8–14
Solo Shows Ayuna Collins, Kellie Flint, Nathan Goldsmith February 5–11 Out of Gamut: Expanding Photography in Contemporary Practice with Hybrid Processes Adam Donnelly, Toni Gentilli, Marie-Luise Klotz, Amelia Konow, Mido Lee, Oliver Leech, Gio Marquez, Julia Sackett February 12–18
MA Collaborative Project: Storied Sites: Architecture, Politics, and People Curated by Nadia Khismatulina Hadass Gerson, Sheeka Arbuthnot, Nadia Khismatulina, Rebecca Ahrens, Emily Shallman, Candace Cui, Orlando Lacro, Cole Robbins, Zoë Martell, Alicia Soja April 15–21
Any Body Out There Laura Kim, Rebecca Levitan, Lindsay Tully February 19–25
Making History: Contemporary Practices Group Show Curated by Amy Berk April 22–28
All You Can Eat Erno Raitanen, Elizabeth Cayne, Milos Zahradka Maiorana February 26–March 4
Solo Shows Allie Blanchard, Smith April 29–May 5
Ink Age Ruya Qian, Haisu Tian, Tian Sun March 4–10 And Now What? Maria Schumacher, Conrad Guevara, Charlotte Herzig March 11-17
Spring Show Graduating Bachelor of Fine Arts and Post-Baccalaureate Students May 6–19
Walter and McBean Galleries East Meets West July 15–September 10 Curated by Mary Ellyn Johnson East Meets West featured Boston-based artists who received the Warhol Foundation’s Artadia Award in 2009: Claire Beckett, Ambreen Butt, Caleb Cole, Raul Gonzalez, Eric Gottesman, Amie Siegel, and Joe Zane. The show was part of the Artadia Exhibitions Exchange program, a groundbreaking initiative from the nonprofit organization Artadia to foster dialogue and exchange between artists, peer organizations, and arts communities around the country by exhibiting awardees from one Artadia city in another. Think Art–Act Science September 17–November 12 Curated by Iréne Hediger, Hou Hanru, and Mary Ellyn Johnson Raul Gonzalez El Humo Limpia todo excepto… (the Smoke Cleanses everything but…) – 2011 – Site-specific mural for East Meets West
Courtesy of the artist and Carroll and Sons, Boston
Alexandre Joly Sacred Peanuts – 2010 – From the exhibition Think Art-Act Science
Oceans and Campfires: Allan Sekula and Bruno Serralongue December 1–February 18 Curated by Hou Hanru This exhibition featured two of the most innovative figures in the field of contemporary documentary photography and video. Traveling around the world, French artist Bruno Serralongue and Los Angelesbased Allan Sekula investigate regions and industries in the midst of geopolitical, economic, and social changes. Their documentaries negotiate the moving boundaries of truth and imagination, reportage and critique, bringing a powerful sense of social reality to the realm of contemporary art. Generous support for Bruno Serralongue was provided by Etant donnés: The French-American Fund for Contemporary Art and Kadist Art Foundation, San Francisco.
Transforming the Walter and McBean Galleries into a working lab, Think Art–Act Science included work by artists who took part in the Swiss “artists-in-labs” program, completing an immersive nine-month residency in a scientific research institute or university science department. Participating artists were Alexandre Joly, Christian Gonzenbach, Pe Lang, Wenfeng Liao, Alina Mnatsakanian, Monica Codourey, and Roman Keller. The exhibition was arranged around three main themes of investigation: Ecology and Environment, Spatial Awareness and Emotions, and Exploration of New Technologies. The Think Art–Act Science project is a collaboration between the Institute for Cultural Studies in the Arts of the Zurich University of the Arts and the Federal Office of Culture.
Photographed by Naaman Rosen
Think Art–Act Science is generously supported by swissnex San Francisco and the Swiss Arts Council, Pro Helvetia and is a project of the U.S.-wide program ThinkSwiss-Brainstorm the Future.
SFAI’s exhibitions and public programs are made possible in part by the Grants for the Arts/San Francisco Hotel Tax Fund.
Living in Studio Kuchar March 9–April 21 Curated by Hou Hanru, Julio César Morales, and Mary Ellyn Johnson Living in Studio Kuchar highlighted the inimitable genius of late independent film legend and longtime SFAI faculty member George Kuchar. Kuchar’s wildly original vision—tawdry yet tender, perversely humorous, and deeply personal—fueled a body of work spanning nearly 300 films and videos, as well as paintings, drawings, comics, and writing. Living in Studio Kuchar situated Kuchar’s work in the specific locale and community of SFAI, his home for four decades. Lin Yilin: Golden Journey May 3–July 28 Curated by Hou Hanru Chinese artist Lin Yilin is a versatile and internationally significant artist whose work has been marked strongly by his urban interventions. This exhibition presented his interactions with the city of San Francisco and the local arts community. After researching the city in the fall of 2011, Lin worked with SFAI students to develop a series of site-specific performances that explored various urban histories of migration and immigration, with particular focus on their political implications. Lin Yilin's residency in San Francisco was hosted by Kadist Art Foundation, which also provided generous support for the exhibition.
Allan Sekula Churn, from the series Ship of Fools – 1999-2012 – 48 x 52 inches
Courtesy of the artist, Christopher Grimes Gallery, Santa Monica and Galerie Michel Rein, Paris
Lin Yilin Golden Town – 2011 –
Courtesy of the artist
Graduate Lecture Series FA L L 2 011
SPR I NG 2012
Jorge FernĂĄndez Torres Habana Bienal: An Alternative from the Perspective of Difference September 9
Hans Winkler Intervene and Disappear: Interventions and Actions in Public Space January 27
George Kuchar* Art Sweep September 16 Eamon Ore-Giron Cross Fader September 23 Ranu Mukherjee Epic Every Day October 7 Reagan Louie Untitled October 21 Robin Balliger Vultures Invade Trinidad! October 28 Carol Mavor Duplicitous Blue November 4 Alexandre Arrechea Space Defeated November 11
In fitting with SFAIâ&#x20AC;&#x2122;s pioneering presence in experimental film, this series emphasizes cinematic approaches that veer from traditional narratives and challenge the boundaries between film and other media.
Photographed by Pauline Quintana
Tom di Maria From the Margins to the Mainstream: Art and Disability Today February 3 Linda Connor Moving Forward/Hindsight February 24 Gavin Butt The Common Turn in Performance March 2
Bevin Kelley (Blevin Blectum) Multimedia Performance and Speculative Sonic Fictions April 20 Activating the Medium XV Sound Festival April 21 Claire Daigle Under the Sign of the Crocodile: Bachelor Machines and Bridal Machinations April 27 *George Kuchar passed away shortly before his scheduled talk.
Jake Fernandez The Perpetual Frieze: Telemetry of Nature March 23 Michelle Handelman Glimmer + Gloom March 30 Lucas Ospina Pedro Manrique Figueroa: Precursor of Collage in Columbia April 20
Radical Directing Lecture Series SPR I NG 2012
Gene Youngblood Author/Critic February 1
Terry Zwigoff Director February 29
Shari Frilot Senior Programmer, Sundance Film Festival February 15
Dan Geller and Dayna Goldfine Directors/Producers March 7
Carroll Ballard Director April 18
Visiting Artists and Scholars Lecture Series FA L L 2 011
Amie Siegel Visiting Artist September 7 Think Art–Act Science Panel Discussion September 21
Allan Sekula and Bruno Serralongue in Conversation November 30
Nato Thompson Visiting Curator April 2
SPR I NG 2012
Wayne Koestenbaum Visiting Writer April 11
Yun-fei Ji Winifred Johnson Clive Foundation Distinguished Visiting Fellowship for Interdisciplinary Painting Practices September 26
Allan Sekula and Noël Burch The Forgotten Space Film screening introduced by Allan Sekula January 25
Thomas Eggerer Winifred Johnson Clive Foundation Distinguished Visiting Fellowship for Interdisciplinary Painting Practices April 23
Geoff Manaugh in Conversation with Jeannene Przyblyski Seed Foundation Teaching Fellowship in Urban Studies October 3
Nina Katchadourian Ann Chamberlain Distinguished Visiting Artist Program in Interdisciplinary Studies February 8
Maria Nordman Visiting Artist October 17
Dora García Visiting Artist February 13
Monique Prieto Winifred Johnson Clive Foundation Distinguished Visiting Fellowship for Interdisciplinary Painting Practices October 31
SFAI Celebrates the Life and Work of George Kuchar March 8
Nicole Eisenman Winifred Johnson Clive Foundation Distinguished Visiting Fellowship for Interdisciplinary Painting Practices November 7 Stephen Kaltenbach in Conversation with Constance Lewallen November 14 Franklin Sirmans Visiting Curator November 21
R. H. Quaytman Winifred Johnson Clive Foundation Distinguished Visiting Fellowship for Interdisciplinary Painting Practices March 19 Radhika Subramaniam Seed Fund Teaching Fellowship in Urban Studies March 26 Jim Isermann Winifred Johnson Clive Foundation Distinguished Visiting Fellowship for Interdisciplinary Painting Practices March 28
SFAI’s exhibitions and public programs—a component of which is the Visiting Artists and Scholars Lecture Series—are supported in part by the Grants for the Arts/San Francisco Hotel Tax Fund. The Winifred Johnson Clive Foundation Distinguished Visiting Fellowships for Interdisciplinary Painting Practices are funded by the Winifred Johnson Clive Foundation. The Seed Fund Teaching Fellowship in Urban Studies is supported by the generosity of the Seed Fund. The Ann Chamberlain Distinguished Visiting Artist Program in Interdisciplinary Studies is supported by a generous bequest by artist and SFAI faculty member Ann Chamberlain made through the Harker Trust Fund at the San Francisco Foundation.
Photographed by Elizabeth Bernstein
Remarks on Mongreloid (1978) by George Kuchar J E A N N E N E P R Z Y B LY S K I
Vice President and Dean of Academic Affairs
George Kuchar, a faculty member at the San Francisco Art Institute since 1971, died of cancer in September 2011. This essay was first presented that month at the Graduate Lecture Series. Mongreloid is a film about a man and his dog. Mongreloid is a film about a man and his dog. It’s a really funny film, and it’s also an example of something that’s called “personal cinema.” I want to talk a bit about both of those things.
Photograph courtesy of Jennifer Kroot Living in Studio Kuchar (opposite) Photographed by Pauline Quintana
Mongreloid is an example of personal cinema but I have to confess to my great sadness that I can’t claim to have known George all that personally. When I began teaching at SFAI, the faculty members were pretty firmly entrenched in their disciplinary silos, especially the “academic” faculty who, if allowed to roam free, might have ruined everyone else’s fun by giving them a dose of critical theory. And when I became Dean, I only had the opportunity to talk with George a few times and to engage with him mostly through intermediaries—for example during the infamous Santa caper of a few years ago, about which officially we will say no more. But George’s bawdy, exploratory nature, and his love of tawdry subjects and toilet humor were legendary. Personally, he struck me as a sort of dangerous iteration of Big Bird, so jolly and kind and wondrously child-like on the surface, but if you looked under the costume you found Fritz the Cat. I found that frankly intimidating. So one of the ways George invited us into his personal cinema was through humor. I, for example, didn’t ever dream that dogs entered the doggie memory portal through a vortex combining Halloween paraphernalia and weather effects (although I do think that my dog has a similar mental big band soundtrack: Rain! Snow! Ice! Sleet! Yada! Yada! Yada!). All of us can
enjoy Bocko’s crazy ears waving in the breeze, or his Samantha-Stevens-like bewitching twitch of the nose as he poses in front of a horse (George always seemed to know how to bring out an actor’s best feature). We can laugh at the funny low-rent nods to tender Technicolor tales of Lassie or Rin Tin Tin, and the long drawn-out, sentimental sequence on westward expansion and California dreaming that turns out to be only a game of chase-the-stick—a pooch’s version of the eternal return. But personal cinema over time can’t help but become history. Really personal cinema, home movies and the like, does this by accident—if the films survive, they become the grist for mostly ponderous inquiries into the history of “everyday life.” George’s films seem as if they do it by accident, but this is the difference between home movies and personal cinema: a deep knowingness, a pile-up of genre references and broken cinematic rules that bait-and-switch the appearance of zany happenstance for a deeply invested and sustained practice, over time. Mongreloid strikes me as a tremendously, presciently place-and-time-specific film. It begins in San Francisco, looking out over Dolores Park to a lower and less dense downtown skyline, veers off to New York City, maps the journey back west as a trail of canine bathroom breaks, and takes a vacation to the Sierra Nevada before ending up again in San Francisco, as the scene of a sweet love story—“where do I begin?” Well, let’s begin with George’s version of California dreaming: “California is, of course, a strange place. It’s a desert that floods and a paradise that tends to go to hell. All the scenery hiccups now and then or bursts into flames, but it is definitely nice while it lasts.”
“It’s definitely nice while it lasts.” It’s 1978 when Mongreloid is made, and the climate is changeable— shifting between a halcyon hedonism and occasional patches of something more precarious and foreboding. It’s 10 years after the Summer of Love—in San Francisco and New York, the sexual revolution, always wildly fun, has become much gayer. The Castro is a perpetual party, drawing men with moustaches from around the world to its camaraderie and its temptations. “Why more men are wearing jewelry,” George reads to Bocko from the tabloids. Indeed. But it’s a party that is already taking on an elegiac tinge. Harvey Milk and George Moscone are assassinated in November of 1978, and this event for San Francisco is a cultural instance of the earthquakes that George describes as “scenery hiccups,” a sharp jolt reminding everyone that personal identity is always, inescapably, political. George’s student and lover, Curt McDowell, is absolutely beautiful and filled with life, up there in the Sierra Nevada in Mongreloid. Yet those of us who were in San Francisco around that time know the minute he comes on screen in Jennifer Kroot’s documentary on the Kuchar brother that Curt is going to die. In 1981, lots of beautiful young men get terribly ill and die quickly and no one knows why—AIDS/HIV isn’t officially given a name until 1983. For me, in Mongreloid, Curt’s appearance works almost like the notorious Barthesian punctum—the shine coming off his pioneer-like profile is the prick of memory, of recognition, that wounds me deeply. It shifts us from silly cinematic send-up to the critical territory of Susan Sontag’s “Notes on Camp,” just as—make no mistake about it—the soundtrack of Latin liturgical music as George turns to reading the National Inquirer to Bocko is equally redolent with forbidden pleasures and penitence. It’s a deeply Foucauldian instance of cinematic scoring (and Foucault himself was also in the Bay Area around that time, spending at least as much time in the
San Francisco bathhouses and leather bars as in the philosophy department at Berkeley. By 1984, he too would be gone). Silliness with an edge. I think the best of George’s films, especially Hold Me While I’m Naked, remind us that humor is a mighty sword, that camp is humor haunted by consequences, and that these consequences often appear as some version of failure or frustration. But this isn’t to wind up by inscribing some sort of right-wing version of retribution into George’s cosmology (all those deviant guys—they had it coming). Rather it’s about honoring humor’s role in George’s work, self-deprecating, mordant, poignant, vulnerable, goofy, as a form of magical redemption—it’s that Pantagruelian humor that gives George’s campy cosmos its purpose and its poetry, that walks that line between sophomoric and saintly, and that will keep us watching George’s films over time. When I think about this publication as one of the mechanisms of celebrating the people and the productions that make up our school’s history, this is what I want you to know about George’s films: This is a film about a man and his dog, really a sweet love story. And like Love Story, you know how it’s going to end. “Remember?” George keeps tempting Bocko with toys and treats. “Remember?” George urges him, begs him, commands him. “Remember?” But there is Bocko on film, supremely oblivious, ears flapping, forever in the present tense, remembering nothing—as only a doggie on film can be. Remembering is a human gift and a human burden. It’s the stuff that makes personal cinema into history, because the purposefully personal secretes history; it becomes history whether history likes it or not. It can’t help it. I think George knew this well. And yes, George, we remember.
G R A D U A T E FA C U LT Y
Photograph by Mark Johann
Faculty Nicole Archer, PhD, Chair of History and Theory of Contemporary Art. Archer researches contemporary art and material culture, with an emphasis in modern textile and garment histories. She also concentrates on critical and psychoanalytic theory, corporeal feminism, and performance studies. In her teaching, she explores the relations of politics and aesthetics through close examinations of style, embodiment, and desire. Archer’s work has appeared in Textile: The Journal of Cloth and Culture and Working for Justice: The L.A. Model of Organizing and Advocacy. Robin Balliger, PhD, Chair of Urban Studies. Balliger is a cultural anthropologist whose research interests include globalization, geography, media and popular culture, music/ sound, postcolonial theory, political economy, the Caribbean, and Latin America. She has received fellowships from Fulbright, the MacArthur Foundation, the National Science Foundation, and the Andrew W. Mellon Foundation, and was awarded the Textor Award for Outstanding Anthropological Creativity. Balliger’s recent publications appear in The Global Resistance Reader, Trinidad Carnival: The Cultural Politics of a Transnational Festival, Anthropological Forum, and City: Analysis of Urban Trends, Culture, Theory, Policy, Action. Zeina Barakeh, Director of Graduate Administration. Barakeh’s artwork examines how people and spaces become polarized during binary divisions. Through animation, digital media, and archival installations, she interrogates constructions of identity, history, memory, and territory. Selected exhibitions include Facettes, Espace SD, Beirut; Internal Exile: From Palestine to the U.S.A. to Mexico, SOMArts Bay Gallery, San Francisco; Passages, Theater Artaud, San Francisco; The Third-Half, The Public Theater, New York; Jaffa Mangoes, Ictus Gallery, San Francisco; and the upcoming exhibition, The Fertile Crescent: Gender, Art, and Society in the Middle East, at the Bernstein
Gallery, Princeton University, organized by the Rutgers Institute for Women and Art. JD Beltran’s multidisciplinary work bridges the narrative and abstract while investigating the manner in which materials convey stories. She was awarded the Artadia Grant and Skowhegan Residency and has exhibited internationally; recent exhibitions include the Walker Art Center, Minneapolis; the San Francisco Museum of Modern Art; and the 2006 and 2008 01SJ New Media Biennials, San Jose, California. Her San Jose artwork, Downtown Mirror, was recognized as one of the most outstanding public artworks in the United States in 2009. In 2012, she was appointed President of the San Francisco Arts Commission. Richard Berger has taught at SFAI since 1971. He received a National Endowment for the Arts Award in 1980 and the Adeline Kent Award in 2004. Primarily a sculptor, he has recently added video and digital fabrication processes to his production and is currently engaged in research and a scale-model reconstruction of the Sun Temple at Konarak, in the Indian state of Orissa. Timothy Berry’s hybrid paintings/prints reflect, through both process and content, his decision to enter into a visual inquiry using such symbolically loaded material as nature provides, as a way to take past experience and expand upon it in a larger context that is resonant for our times. Recent projects include the exhibition Timothy Berry: The Aftermath Paintings, Clark Gallery, Lincoln, Massachusetts, and a forthcoming publication of mixed media prints, published by Magnolia Editions in 2012.
has been exhibited at the New Museum, New York; MoMA PS1, New York; the Museum of Contemporary Art, Los Angeles; in Bay Area Now 3, at the Yerba Buena Center for the Arts, San Francisco; and in the Venice Biennale. Recent solo shows were held at White Columns, New York; Steven Wolf Fine Art, San Francisco; and Good Children Gallery, New Orleans, as part of Prospect 1.5. Jill Bond, an ESL professional for over nine years, has taught academic, business, and vocational English-language skills. After serving in the Peace Corps, Bond went on to earn an MA in TESOL from the University of Maryland. Having spent much of her childhood in Iran, Saudi Arabia, Thailand, India, and other countries, Bond has a strong interest in travel and has experienced firsthand what it is like to study a second language and adapt to new cultures. As an educator, Bond’s main interest is in working with diverse student populations and in helping students achieve their life goals. Matt Borruso is a visual artist and San Francisco native. His work draws from a wide variety of source material, including science fiction and horror film, the baroque and the grotesque, modernist color theory, cults and subcultures, utopias and dystopias, as well as radical ideologies and conspiracy theory. His recent solo shows include The Hermit’s Revenge Fantasy at Steven Wolf Fine Arts, San Francisco, and Return to Holy Mountain at 2nd Floor Projects, San Francisco.
Keith Boadwee produces photo-based works, drawings, paintings, and sculptures that address the body, actionism, expressionist painting, sex, humor, and the abject. His work
Faculty (c on t in u ed) Pegan Brooke makes paintings and videopoems inspired by the Aven River in Pont-Aven, France, and the Pacific Ocean near her home in Bolinas. Her interest is in the fleeting quality of experience and our own individual and collective responses to that experience. Brooke has exhibited extensively, and her work is owned by the Guggenheim, New York; the San Francisco Museum of Modern Art; the Des Moines Art Museum; the Swig Collection, San Francisco; and the Anderson Collection, Menlo Park, California. Her work has been widely reviewed in publications such as Art in America, The New York Times, and Artweek. Dale Carrico, PhD, teaches technocritical theory, focusing on the planetarity of both environmental concerns and peer-to-peer media formations. Recently, Carrico organized conferences on feminist bioethics at the University of California, Berkeley, and on human “enhancement” and human rights at Stanford. His writings have appeared in RePublic, Worldchanging, and The Foundation for Peer to Peer Alternatives. He writes about the politics of technoscience, developmentalist ideology, futurological subcultures, and the suffusion of public life by marketing norms on his blog Amor Mundi. Linda Connor is a photographer and dedicated educator who approaches both roles by enlisting the power of images—the ways they communicate, their unique properties, and how they interrelate. She has exhibited widely for the last four decades, both nationally and internationally, and is the recipient of many awards and grants, including a Guggenheim Fellowship and multiple National Endowment for the Arts grants. She has been a driving force in the Bay Area’s photographic community and has helped to make that community accessible to her students. Dewey Crumpler’s work examines issues of globalization and cultural commodification
through the integration of digital imagery, video, and traditional painting techniques. His work has been exhibited nationally and internationally, and is featured in the permanent collections of the Oakland Museum of California; the Triton Museum of Art, Santa Clara, California; and the California African American Museum, Los Angeles. Crumpler has received a Flintridge Foundation Award, a National Endowment for the Arts Fellowship, and the Fleishhacker Foundation Eureka Fellowship. Claire Daigle, PhD, Director of MA Programs and Co-director of Low-Residency Graduate Programs. Daigle is a writer, art historian, and critic whose work has appeared in New Art Examiner, X-tra, Art Papers, Sculpture, Brooklyn Rail, and Tate, etc. She was a Fellow in Critical Studies at the Whitney Museum of American Art Independent Study Program and holds a PhD in art history from the Graduate Center of the City University of New York. Her dissertation, Reading Barthes/ Writing Twombly, was received with distinction. Her interests form a constellation around word and image relationships (between theory and practice, experience and verbal articulation—particularly as related to color; documentation; archival and everyday practices; between contemporary literature and art; and among marks, script, and signs). John de Fazio’s recent work involves the creation of “super objects”—handmade objects of desire that encode layers of meaning through the obsessive processes involved in their conception and production. These forms have included ceramic funerary urns, distorted mannequins, clay pipes and hookahs, toilet fountains, and conference-room tables. In spring 2012, de Fazio’s work will be featured in Shifting Paradigms in Contemporary Ceramics at the Museum of Fine Arts, Houston, with a catalogue published by Yale University Press. His work is in the collections of the Whitney Museum, New York; the de Young Museum, San Francisco; and MTV Networks, New York.
Allan deSouza, Chair of New Genres, Codirector of Low-Residency Graduate Programs. DeSouza’s conceptual photography, mixedmedia installation, digital-painting, text, and performance works are derived partly from ethnographic methodologies of documentary and evidence, as well as counterstrategies of fiction, erasure, re-inscription and (mis)translation. DeSouza has exhibited extensively in the United States and internationally, including recently at SF Camerawork; the Yerba Buena Center for the Arts, San Francisco; the Phillips Collection, Washington, DC; the Walther Collection, Germany; Centre Pompidou, Paris; the Gwangju Biennale, Korea; and the Guangzhou Triennial, China. Ella Maria Diaz, PhD, is an American Studies scholar from the College of William and Mary. Her research/fields include immigration studies, urban studies, and Chicano/a-Latino/a visual and literary cultures. Her dissertation, Flying Under the Radar with The Royal Chicano Air Force: The Ongoing Politics of Space and Ethnic Identity, explores intersections and tensions of ethnic identity and memory in mainstream consciousness and historical representation. She was awarded the College of William and Mary’s Distinguished Dissertation Award for this work. Carolyn Duffey, PhD, works in literary cultural studies. Her research interests include the Caribbean and the Maghreb; race, ethnicity, and gender in literature of the Americas; the history of Islam in Europe; French medieval poetry; and postcolonial and feminist theory. She has received a French Government Scholarship, University of California, Berkeley, and Columbia University research grants, and was named a Knight Fellows Favorite Professor at Stanford University. Her recent publications appear in Ma Comère, Journal of Caribbean Literatures, Women in French Studies, and Pacific Coast Philology. Amy Ellingson’s work explores methodologies of abstraction and the dichotomy between the
lightning-fast process of digital rendering and traditional methods of execution through historic oil and encaustic painting techniques. Her paintings have been exhibited nationally. She is the recipient of a 2009 Fleishhacker Foundation Eureka Fellowship and a 1999 Artadia Grant to Individual Artists. Ellingson’s paintings have been reviewed in numerous publications, including The New York Times, Chicago Tribune, San Francisco Chronicle, NY Arts, and Art issues. Laura Fantone, PhD, is a lecturer at the University of California, Berkeley. Her past work, funded by Fulbright and Spencer grants, addresses gender and visual politics, digital cultures, postcoloniality, urbanism, and globalization. She has published articles for Feminist Theory, Digital Creativity, and FR, and is currently researching Asian diasporas in California and Roma Gypsies in Italy. Her new book, Gender and Precarity, was published in fall 2011. Lucas Foglia makes photographs about places where wilderness and culture intersect. A graduate of Brown University and the Yale University School of Art, Foglia exhibits and publishes his photographs internationally. His work is in the permanent collections of the Museum of Fine Arts, Houston, and the Museum of Art at the Rhode Island School of Design, Providence. His photographs have been published in Aperture, The New York Times Magazine, The Washington Post Magazine, British Journal of Photography, Contact Sheet, and PDN’s 30. His first book, A Natural Order, will be published by Nazraeli Press in spring 2012. Rudolf Frieling, PhD, is Curator of Media Arts at the San Francisco Museum of Modern Art and is currently working on the impact of the museum expansion and new curatorial models on the media arts program. His curatorial projects include the online archive Media Art Net and The Art of Participation: 1950 to Now, a major survey of the history of contemporary participatory practice at SFMOMA.
Jack Fulton’s photographic practice is informed by the history of art and culture, literature and poetry, and science and ecology. His current projects investigate the Nevada desert, the odes of Pablo Neruda, and Western Europe. Recent exhibitions include Togonon Gallery, San Francisco; the Menil Collection, Houston; the Berkeley Art Museum; the Museum of Contemporary Art, Denver; and Gemini GEL, Los Angeles. Publications have stressed alternative living and architecture from the 1960s and 1970s. Sharon Grace works in analog/digital installation, performance/video, and sculpture in stone and steel. Grace’s concept-driven work engages explorations of presence and absence. Her awards include a National Endowment for the Arts award, an Award of Honor for Outstanding Achievement from the City of San Francisco, a Rockefeller Foundation award, and a William and Flora Hewlett Foundation grant. At NASA/AMES, she was artist/project leader for SEND/RECEIVE, the first satellite artists’ network. She has exhibited at the Metro Opera, Madrid; in Informatique at the Venice Biennale; and at the Museum of Modern Art, New York. Alexander Greenhough is a filmmaker and a doctoral candidate in the Department of Art and Art History at Stanford University. His research interests include classical and contemporary film theory, postwar French and Italian art films, and contemporary New Zealand cinema. Greenhough’s writing has appeared in Metro and Film Criticism, and is forthcoming in Quarterly Review of Film and Video. Greenhough has received grants from Creative New Zealand and the New Zealand Film Commission. Hou Hanru, Director of Exhibitions and Public Programs, Chair of Exhibition and Museum Studies. Hanru has curated major exhibitions around the world, including the 10th Biennale de Lyon (2009), and the 10th Istanbul Biennial
(2007). He has taught and lectured in many international institutions and has advised major international institutions. He has also frequently contributed to art publications and has served as a jury member for many international art awards and competitions. Susannah Hays’s photographs reveal the essential interconnectedness of all systems in our universe—from the smallest leaf to the cosmos itself. She steps quietly in the footsteps of early pioneers of photographic image making, looking for clues that connect a photographer with the essence of the medium. Her work has been exhibited and collected by numerous private and public institutions, and her archives were acquired by Stanford University in 2010. Hays is presently writing her PhD dissertation in the Department of Interdisciplinary Studies at the University of California, Berkeley. She is the Director of the Entropy/Consciousness Institute, which promotes studies toward objectivity in art and religion and morality in science. Lynn Hershman Leeson, Chair of Film. Leeson pioneered new technologies to investigate identity and the interfacing of humans and machines. Four feature films, including the recent documentary !Women Art Revolution, have been featured at the Toronto, Sundance, and Berlin film festivals. Grants include Creative Capital, the National Endowment for the Arts, the Nathan Cummings Foundation, the John Simon Guggenheim Memorial Foundation Fellowship, the Prix Ars Electronica, and the Alfred P. Sloan Foundation Feature Film Prize. Her work is in the Hess Collection, Napa, California; the Tate Modern, London; the Whitworth Art Gallery, Manchester, England; the ZKM Center for Art and Media, Karlsruhe, Germany; and many other international museums.
Faculty (c on t in u ed) Betti-Sue Hertz is a contemporary art curator and currently Director of Visual Arts at the Yerba Buena Center for the Arts, San Francisco. Her curatorial and scholarly projects are fueled by the intersection of visual aesthetics and socially relevant ideas, where emotional content is filtered through intellectual machinations. Recent exhibitions and catalogues include The Matter Within: New Contemporary Art of India (2011); Song Dong: Dad and Mom, Don’t Worry About Us, We Are All Well (2011); Renée Green: Endless Dreams and Time-Based Streams (2010); and Yoshua Okón: 2007–2010 (2010). Mildred Howard’s work draws from historical and contemporary experience. Her “architecture for the remainder” series questions various perceptions of how the world is viewed. Her work is an ongoing inquiry, considering identity and meaning and the relationship of these ideas to objects on various planes—from the personal to the universal. Howard exhibits internationally and has received numerous awards. In 2011, two major public works were unveiled on the plaza at the Palo Alto City Hall and at the Sacramento International Airport. She is represented by Gallery Paule Anglim, San Francisco. Paul Klein, Chair of Design and Technology. Klein’s teaching and collaborative studio practices foster understandings of how viewers, media, and society create meaning in specific and cross-cultural contexts. Klein also works concurrently as a design strategist and research developer. He has presented his work in the 2012 International Conference on Design Principles and Practices in Los Angeles, and was recently included in In Transition Russia: Cultural Identities in the Age of Transnational and Transcultural Flux, National Centre for Contemporary Arts, Moscow. He was also the recipient of an NEH Summer Institute Residency in Italy.
Chris Kubick is an artist, composer, and sound designer who works under a variety of pseudonyms, including Language Removal Services and Many Many More Than One. Kubick frequently collaborates with Anne Walsh, and together they have created ARCHIVE, whose best-known project, Art After Death, consists of interviews with artists who have died conducted through spirit mediums. Together their work has appeared in the 2002 Whitney Biennial, New York; the Yerba Buena Center for the Arts, San Francisco; the Museum of Contemporary Art, Los Angeles; and the Royal College of Art, London. Kubick has been heard on public radio in the United States, Canada, and Great Britain. Mike Kuchar is the hunter tracking wildlife. The camera is his high-powered gun, loaded with the ammunition of dreams and desires, which discharges explosive secrets. The screen is the zoo, which will contain the live specimens he’s captured and has confined within the 16:9 confines of their cages. Tony Labat, Director of MFA Programs. Labat has developed a body of work in performance, video, sculpture, and installation. His work has dealt with, and continues to investigate, the body, popular culture, identity, urban relations, politics, and the media. Labat has exhibited internationally over the last thirty years. He has received numerous awards and grants, and his work is in many private and public collections. Jennifer Locke composes physically intense actions in relation to the camera and specific architecture in order to explore hierarchies between artist, model, camera, and audience. Working in video and installation-based performance, her actions focus on cycles of physicality, duration, and visibility. Recent exhibition venues include the 2010 California Biennial, Orange County Museum of Art, Newport Beach; Exile, Berlin; the Berkeley Art Museum;
and the San Francisco Museum of Modern Art. Locke was recently awarded a Eureka Fellowship by the Fleishhacker Foundation. Reagan Louie’s photography and installations explore global transformation and cultural identity. His work has been exhibited at the Museum of Modern Art, New York; the San Francisco Museum of Modern Art; the Gwangju Biennale, Korea; the Asia Society, New York; and the Fotomuseum Winterthur, Switzerland. His books include Toward a Truer Life and Orientalia. His awards include a Guggenheim Fellowship and a Fulbright Fellowship. Cameron MacKenzie, PhD, works with psychoanalytic, aesthetic, and mathematical models in conjunction with literary texts to explore universal understandings of the subject. His teaching investigates the interface of philosophy, critical theory, and artistic practice. His critical work has appeared in The Waste Land at 90: A Retrospective and Edward P. Jones: New Essays. His fiction has appeared in Permafrost and the Michigan Quarterly Review. Frances McCormack is an abstract painter whose work draws on the history of gardens and landscape design. She was the recipient of the first SFAI faculty residency at the American Academy in Rome and recently curated the exhibition Silence, Exile, and Cunning for the Sonoma Valley Museum of Art. McCormack is currently collaborating with the San Francisco composer Kurt Rohde and the writer Susan Moon, producing a series of videos for the multimedia work Artifacts. She is represented by the Elins EaglesSmith Gallery, San Francisco, and the R. B. Stevenson Gallery, La Jolla, California. Ian McDonald’s work addresses the relationships and mechanics between cultural characteristics and design and craft characteristics. Playing with issues of usability,
durability, and worth, McDonald’s projects address cultural attitudes, the ubiquity of everyday objects, and an overall attraction to everyday goods. He has exhibited throughout the United States and Europe, including solo exhibitions at Rena Bransten Gallery, San Francisco, and Play Mountain, Tokyo. In 2007, he was awarded the Premio Faenza by the International Museum of Ceramics in Faenza, Italy. His work has appeared in numerous publications, including Artforum, Art Week, and Brutus magazine in Japan. Bruce McGaw is a painter who was included in the 1957 seminal exhibition Bay Area Figurative Painters. His outlook has always been based on the multiformity of visual possibilities which continue to make painting a critical form of human expression. Always totally present, painting is a poetry of sight which taps the deepest and most considered resources of its maker. Shown at SFAI’s Walter and McBean Galleries (2008), and the Fresno Art Museum, California (2009), McGaw continues to paint, draw, and teach. Julio César Morales is an installation artist who explores issues of labor, memory, surveillance technologies, and identity strategies. His work has recently been exhibited at the Louisiana Museum of Modern Art, Denmark; the 2009 Biennale de Lyon; the 2008 and 2004 San Juan Poly/Graphic Triennials; the 2007 Istanbul Biennial; the Los Angeles County Art Museum; the 2006 Singapore Biennale; Frankfurter Kunstverein, Frankfurt; Harris Lieberman Gallery, New York; and the Hammer Museum, Los Angeles. He is also currently an Adjunct Curator of Visual Arts at the Yerba Buena Center for the Arts, San Francisco. Jeremy Morgan’s paintings are investigations into both European American and Asian landscape traditions as they relate to notions of abstraction and
philosophical-spiritual contexts. His work is in the collections of the China National Academy, Beijing; Lucent Technologies, California; and Beringer Wineries, St. Helena, California. He is represented by Sandra Lee Gallery, San Francisco. Ranu Mukherjee makes hybrid films, works on paper, and collaborative projects that explore processes of creolization, narrative excess, and other material conditions brought on by global capitalism. Mukherjee co-created the artist collaborative Orphan Drift in London in the 1990s and has participated in numerous exhibitions and screenings internationally. Her first solo exhibition in the United States was held at Frey Norris Contemporary and Modern, San Francisco, in summer 2011, and her work was included in Bay Area Now 6 at the Yerba Buena Center for the Arts, San Francisco. Hiro Narita has spent the past 35 years exploring the interaction of light, color, and composition as carriers of emotion and story. His work ranges from the small and experimental to the epic and commercial. A 1984 Fellow in Culture and Communication at the East-West Center, he lectures, mentors, and juries widely for such institutions as the Sundance Institute and the Hawaiian International Film Festival. Recipient of many awards, he is a member of the American Society of Cinematographers and the Academy of Motion Picture Arts and Sciences. Takeyoshi Nishiuchi, PhD, pursues teaching/ research interests in comparative philosophy: the aesthetic issues of poetry, drama, ritual, and architecture in connection with Taoism (Laotzu and Chuang-tzu), Zen Buddhism (Dogen and Zeami), and modern German philosophy (Nietzsche, Heidegger, and Gadamer). Recent work includes the design of Mein Memorial Meditation Garden at Menlo College. Paolo Polledri is an architect and writer. He worked at the Getty Center and was
the founding Curator of Architecture and Design at the San Francisco Museum of Modern Art. He studied architecture and design in Italy and architectural history at the University of California, Berkeley. He currently lectures about museum architecture at the San Francisco Art Institute. J. John Priola’s photography and video work reveals the subtle details of built and natural landscapes, depicting what presence and absence look like, while vibrating in the space between art and idea. His work has been published and exhibited widely; selected collections include the Metropolitan Museum of Art, New York; the San Francisco Museum of Modern Art; and the Museum of Fine Arts, Houston. He is represented by Gallery Paule Anglim, San Francisco; Joseph Bellows Gallery, La Jolla, California; and Weston Gallery, Carmel, California. Jeannene Przyblyski, PhD, Vice President and Dean of Academic Affairs. Przyblyski is an artist and historian whose work spans experientially based public projects and scholarly publications on art, photography, and urbanism. Recent projects include If Only We’d Known How We’d Want to Remember It: 8 San Francisco Time Capsules Assembled After the Fact; A Lover’s Line thru the Presidio, which was awarded the 2009 Association of Partners for Public Lands Award for Excellence; and K-BRIDGE: Radio to Span the Golden Gate, commissioned by the FOR-SITE Foundation in conjunction with International Orange, in celebration of the 75th Anniversary of the Golden Gate Bridge. Her book, The Camera on the Barricades: Photography and the Paris Commune of 1871, is forthcoming from University of Minnesota Press. Brett Reichman’s approach to realism addresses the complexities of identity politics. His paintings and drawings question societal norms by constructing images of exaggeration and artifice. This inquiry into the politics of
Faculty (c on t in u ed) gay culture critiques political correctness and cultural assimilation through images that convey an amplified visibility. Reichman’s work is in many public collections, including the San Francisco Museum of Modern Art, the Berkeley Art Museum, and the Orange County Museum of Art. Recent exhibitions include Gallery Paule Anglim, San Francisco; Feature Inc., New York; the PPOW Gallery, New York; and the Nordiska Akvarellmuseet, Skärhamn, Sweden. Jennifer Rissler, Associate Dean of Academic Administration. Rissler’s research on fine art curricular histories includes “Shared Legacies: Black Mountain College and Its Influence on Post-Studio Art Education,” presented at “Re-Viewing Black Mountain College: An International Conference” at the University of North Carolina, Asheville (2009). Her photographic work Self-Served was published in Aroused: A Collection of Erotic Writing, edited by Karen Finley (2001). John Roloff, Chair of Sculpture/Ceramics. Roloff ’s recent work includes public projects in Oakland, Minneapolis, and the Exploratorium, San Francisco, as well as exhibitions for the Denver Art Museum and Habitats at the Presidio, San Francisco. He has shown at the Whitney Museum of American Art, New York; the Berkeley Art Museum; the San Francisco Museum of Modern Art; the Smithsonian Institution, Washington, DC; the Venice Architectural and Art Biennales; and The Snow Show in Kemi, Finland. He is a recipient of fellowships from the National Endowment for the Arts, the Guggenheim Foundation, the California Arts Council, and the Bernard Osher Foundation. Kate Ruddle’s sculptural work uses fabric, video, and architectural elements to create objects and environments that describe the complex influence that the trappings of our surroundings have on the psyche. In 1999, she interned at a company producing ship sails in Alameda to gain an understanding of large-scale
fabric manipulation to augment her sculptural installations. Ruddle has exhibited at many Bay Area venues. Her current projects are inspired by research into the power dynamics of dress of Marie Antoinette and endangered species on the IUCN Red List of Threatened Species. Meg Shiffler, Director of the San Francisco Arts Commission Gallery, curates exhibitions in three distinct Civic Center spaces featuring regional artists alongside international artists. Her research centers on her curatorial practice and topics of interest currently range from embedded photojournalists in Afghanistan, to art and its intersection with urban planning, to issues related to the contemporary African American experience. She is also curating a touring survey exhibition for photographer Teru Kuwayama, set to open in 2013. Leslie Shows incorporates diverse media such as aluminum, plexiglass, flags, sand, ink, paint, collaged imagery, and cast sulfur into works that explore connections between geology and landscape, scales of time and size, philosophies of matter, and the materiality of painting. She has exhibited her work at the San Francisco Museum of Modern Art; the California Biennial, Orange County Museum of Art, Newport Beach; the Yerba Buena Center for the Arts, San Francisco; and the 8th Mercosul Biennial, Porto Alegre, Brazil. Frank Smigiel, PhD, is Associate Curator of Public Programs at the San Francisco Museum of Modern Art, where he designs and implements live events from artists’ talks and public projects to visual arts–based performance and film. He has realized live work with Martha Colburn, William Kentridge, OPENrestaurant, Rebecca Solnit, Eve Sussman & the Rufus Corporation, Stephanie Syjuco, and Mika Tajima/New Humans, among many others. Laetitia Sonami is a sound artist and performer. She has devised new gestural controllers for performance and uses new technologies and appropriated media to emphasize live interaction
and an awareness of the sonic environment. She performs worldwide and has received numerous awards, including the Herb Alpert Award in the Arts and the Foundation for Contemporary Performance Award. Tim Sullivan is a multimedia artist working primarily in video, photography, performance, and installation. Sullivan has spent the last five years completing a series of works exploring the myths and stereotypes of California as informed by television, film, music, and literature. He has had solo exhibitions in San Francisco, Los Angeles, Singapore, Ireland, and Poland, and has been featured in numerous group exhibitions, including the 2006 California Biennial, Orange County Museum of Art, Newport Beach. Anjali Sundaram is a filmmaker preoccupied with articulations of power and powerlessness within the home, workplace, and global market. She explores intersections of celebrity and anonymity, racial and gendered difference, and national identity and international capital, within frameworks of memory, imagined futures, and pseudoscience. Sundaram’s multimedia collaborations with I, Daughter of Kong have appeared in galleries in San Francisco, Los Angeles, and New York. She has received awards from the Princess Grace Foundation and the Robin Eickman Foundation. Stephanie Syjuco’s work uses the tactics of bootlegging, reappropriation, and fictional fabrication to address issues of cultural biography, labor, and economic globalization. This has included: starting a global collaborative project with crochet crafters to counterfeit highend consumer goods; presenting a parasitic art counterfeiting event, COPYSTAND, for Frieze Projects, London (2009); and Shadowshop, a temporary vending outlet embedded at the San Francisco Museum of Modern Art, exploring the ways in which artists are navigating the production, consumption, and dissemination of their work (2011).
Taravat Talepasand is a conglomerate of equal yet irreconcilable cultural forces. Her work challenges plebeian notions of acceptable behavior. Exhibitions include the 2010 California Biennial, Orange County Museum of Art, Newport Beach; the Yerba Buena Center for the Arts, San Francisco; and the de Young Museum, San Francisco, among other venues. Talepasand is a recipient of the SFAI Richard Diebenkorn Teaching Fellowship, a grant from the Adolph and Esther Gottlieb Foundation, and a Murphy Cadogan Fellowship. Her work has been featured in Art in America, Art Papers, The Boston Globe, The Huffington Post, and New American Paintings. Larry Thomas’s studio interests include printmaking, drawing, and calligraphy. His work primarily concentrates on combining and synthesizing aspects of these media, often in book or folio format. His teaching approach is one of experimentation and exploration, with a historical overview as a foundation for studio practice. His work has been widely exhibited regionally and nationally and is included in the public collections of the San Francisco Museum of Modern Art; the Achenbach Foundation for Graphic Arts at the Legion of Honor, San Francisco; the Oakland Museum of California; the Whitney Museum of American Art, New York; and the Metropolitan Museum of Art, New York, among others. Amy Todd’s photographically based works, that use imagery derived from video, are landscapes that expand and contract with the habitation and relationships of people and the actions of culture, as a visual representation of temporally based psychological/emotional states. She has exhibited in solo and group exhibitions at venues including the California Museum of Photography, Riverside, and the RISD Museum, Providence. Meredith Tromble is an artist and writer with a specialization in art, science, and technology. Her areas of interest include creative process
and cultural histories of creativity; protocols for interdisciplinary research; collaboration and group dynamics (including interspecies relationships); energy; and women in new media. She worked with the artist collective Stretcher for the past decade, and her recent projects include performance interventions revealing psychological aspects of sustainability. Recently, she received a grant from the Arts Writing Initiative of the Andy Warhol Foundation/ Creative Capital for her new blog Art and Shadows. She was honored by SFAI’s graduate students with the Faculty Award in 2005. Mark Van Proyen’s visual work and written commentaries focus on satirizing the tragic consequences of blind faith placed in economies of narcissistic reward. Since 2003, he has been a corresponding editor for Art in America, and his other recent publications include Facing Innocence: The Art of Gottfried Helnwein (2011) and Cirian Logic and the Painting of Preconstruction (2010). He is the coordinator of the annual Art Criticism Conference during SFAI’s Summer Institute. Henry Wessel is an American photographer noted for his descriptive yet poetic photographs of the vernacular landscape found in Southern California and the West. Wessel has been honored with two Guggenheim grants and three fellowships from the National Endowment for the Arts. He has had solo exhibitions at the Museum of Modern Art, New York; the Museum of Contemporary Art, Los Angeles; and the San Francisco Museum of Modern Art. Five Books, a collection of his work, was published by Steidl in 2007. Griff Williams is an artist, gallerist, and fine arts publisher. He founded and operates Gallery 16 and Urban Digital Color in San Francisco. The exhibition program and fine art press are designed to be more aligned with the idea of a studio practice than that of a site of distribution. His artwork has been exhibited extensively,
including Stephen Wirtz Gallery, San Francisco; the Crocker Art Museum, Sacramento; the San Diego Museum of Art; and at SITE Santa Fe. Dominic Willsdon, PhD, focuses on issues related to contemporary art institutions and their publics, as well as the history and theory of education (especially the relationship between education and architecture). Willsdon is the Leanne and George Roberts Curator of Education and Public Programs at the San Francisco Museum of Modern Art. He is a former editor of the Journal of Visual Culture, and co-editor of The Life and Death of Images: Ethics and Aesthetics (2008). Ginger Wolfe-Suarez’s work explores bodyobject relationships, the sensory field, and the psychological meanings and metaphors of the built environment. Her writings and sculptures often investigate forming a nonWesternized worldview of how we value objects and experiences in our society. This year, she had exhibitions in Los Angeles, Vienna, San Francisco, and Berlin. Ginger was the co-founder and editor of InterReview Journal, whose archive of conceptual documents is currently housed at the Harvard Fine Arts Library. Eddie Yuen is a contributing producer to Against the Grain, a radio program on KPFA FM in Berkeley, California. He is co-editor, with Daniel Burton-Rose and George Katsiaficas, of Confronting Capitalism: Dispatches from a Global Movement (Soft Skull Press, 2003), and The Battle of Seattle: The New Challenge to Capitalist Globalization (Soft Skull Press, 2002). He is co-author of the forthcoming Catastrophism: The Apocalyptic Politics of Collapse and Rebirth, to be published by PM Press. Yuen is on the editorial board of the journal Capitalism, Nature, Socialism, and he is currently working on a book about the political economy of extinction.
San Francisco Art Institute Board of Trustees, 2011-2012 officers Diane Frankel, Chair Cynthia Plevin, Vice Chair Penelope Finnie, Secretary Eli Ridgway, Treasurer trustees Sandra de Saint Phalle Jennifer Emerson Candace Gaudiani Lee Gregory Justin Hoover Michael Jackson Annie Leibovitz, At-Large Bonnie Levinson Jamie Lunder Mary Robinson Stanley Saitowitz John Sanger S. Bry SartĂŠ Jeremy Stone Chris Tellis
trustees emeritus Paule Anglim Gardiner Hempel Beverly James Howard Oringer Paul Sack Jack Schafer Roselyne C. Swig William Zellerbach faculty representatives Charles Hobson John Roloff student representatives Carolyn Martin Taylor Savvy president of sfai Charles Desmarais
Studio of Lee Hunter
Produced by the San Francisco Art Institute Janette Andrawes, Production Manager and Art Director Zeina Barakeh, Content Editor Vera Kachouh, Associate Editor Anne Shulock, Associate Editor Design by Nina Fujikawa Printed by Smythe & Son, San Francisco, CA All artist studio photographs by Joshua Band Special thanks to: Kathleen Fetner Gordon Smythe Laura Hyunjhee Kim, Student Representative for the Graduate Exhibition Niki E. Korth, Student Representative for the Graduate Catalogue San Francisco Art Institute (Main Campus) 800 Chestnut Street San Francisco, CA 94133 415.771.7020 San Francisco Art Institute (Graduate Center) 2565 Third Street San Francisco, CA 94107 415.641.1241 www.sfai.edu