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USC FISHER MUSEUM OF ART / ART DIVISION

ARTISTS IN RESIDENCE USC Fisher Museum of Art January 31 - April 8, 2017


University of Southern California Fisher Museum of Art Staff Selma Holo - Director Kay Allen - Associate Director Stephanie Kowalick - Registrar/Collections Manager Juan Rojas - Chief Preparator Selin Camli - Communications Coordinator Raphael Gatchalian - Administrative Coordinator and Business Specialist Catalog design by Guillermo Perez Printer: Typecraft Photography: Jose Marchi work by Brian Forrest, All other images used for Miracles and Unknown by John Elder, Art Division works by Andy Romanoff, Workshop photos by Maria Galicia

TABLE OF CONTENTS 7 - Directors’ Foreword

ISBN: 978-0-945192-46-6

Š 2017 USC Fisher Museum of Art University Park Campus Los Angeles, CA 90089-0292

9 - The Workshops at the Fisher Museum 15 - Miracles Unknown The Permanent Collection Exhibition 31 - The Art Division Exhibition & Interviews

All Rights Reserved. No part of this catalogue may be reproduced, stored in a retrieval system or transmitted in any form or means, electronic, mechanical,

63 - Appendix

photocopy, recording or otherwise, without the written permission of the Fisher Museum execept by a reviewer, who may quote brief passages in review.

75 - Acknowledgments


Directors’ Foreword The USC Fisher Museum of Art and Art Division are pleased to present a semester long project that featured a series of workshops, followed by an exhibition of Art Division students’ works. Art Division is a non-profit organization dedicated to training and supporting under-served young adults who are committed to studying the visual arts. For three weeks in February, Fisher was transformed from a traditional museum space to a studio, where Art Division students, USC students, and the public had the opportunity to participate in workshops led by renowned artists and scholars, Karen Carson, John Nava, Margaret Lazzari, Salomon Huerta, Katherine Sherwood, Professor Larry Swanson , Randell Mell, Ruth Weisberg, Xavier Fumat, Dan McCleary and Tony Abatemarco. As the workshops were taking place, a select group of USC Art History undergraduates curated an exhibition culled from Fisher’s permanent collection to serve as inspiration for workshop participants and museum visitors. Their exhibition, “Miracles Unknown” ranged from seventeenth century to contemporary art. It allowed for paintings to be on display that created an environment of a museum in which the Art Division students did their work. As they are normally surrounded by art books in their daily studies at Art Division, having works from the Fisher permanent collection on display added to the dimension of working in a museum to their experience. On the other hand, museum exhibitions normally only reveal the final product of an artist’s work—sidestepping the creativity that has led to the final stages of the presentation itself. Fisher has exposed that process. It has also invited the public to participate—challenging the normative relationships between museum, audience, and artists by having a community project during the workshop period. During the three weeks of workshops the museum space progressively developed, as Art Division students displayed the results of their workshops and our various visitors left their imprint on Fisher and Art Division’s community mural. This exhibition by the Art Division students is the result of the project. The Artists in Residence exhibition includes film, drawings, paintings, sculptures, and photographs by sixteen Art Division students. This catalogue celebrates this project: USC / Art Division: Artists in Residence. It documents both process and product and highlights the many pieces that contributed to the actual museum exhibition. If artists can be involved in transforming society for the better, the encouragement of master artists of the next generation continues that chain of transformation. Fisher Museum and Art Division thank USC Roski School of Art and Design and USC School of Dramatic Arts for their support of Fisher and Art Division during the totality of this initiative. Their contributions of faculty and facilities have been essential to the success of USC Fisher Museum of Art/Art Division: Artists in Residence.

Art Division Library

Selma Holo

Dan McCleary

Director, USC Fisher Museum of Art

Director, Art Division

Opposite: Fisher and Art Division’s community mural, Photograph by Guillermo Perez

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THE WORKSHOPS AT THE FISHER MUSEUM January 31 – February 18, 2017

At the heart of the Art Division residency at USC were the workshops. This section demonstrates some of the range of workshops and the transformation of Fisher from a traditional museum space to a studio space. The workshops also included some members of the public and the USC community of students, staff and faculty.

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WOR KS HOP S Install Day, January 31, 12-5pm Witness the installation process of our workshop series and exhibition as it happens during the museum’s open hours. Figure Drawing Workshop I, February 1, 12-3pm Learn how to draw multiple poses from a live model in this workshop led by artist Karen Carson. Figure Drawing Workshop II, February 2, 12-3pm Salomon Huerta will lead a workshop featuring a live model to explore different drawing techniques and introduce students to new ways of seeing. Figure Drawing Workshop III, February 3, 1-4pm John Nava will give an illustrated talk about drawing, followed by demonstrations and guided drawing from a live model. Drawing with Pastels Workshop, February 7, 12-3pm Learn how to draw with pastels in this workshop led by artist and Art Division Director Dan McCleary. Please come with source material; a drawing, painting, or image you would like to do a version of in pastel. Figure Drawing Workshop IV, February 8, 12-3pm Margaret Lazzari, USC Roski School of Art and Design Professor of Fine Arts, will provide instruction on drawing a skeleton model and how that relates to drawing the human figure. Printmaking Workshop I, February 9, 12-3pm Use a printing press to make your own prints with the guidance of Art Division students.

Acting Workshop, February 14, 12-3pm USC School of Dramatic Arts Acting Teacher Tony Abatemarco will lecture on acting for the stage and the camera, incorporating his own students in their scene work with camera work from the Art Division Film Collective to investigate acting techniques and history. Open Conversations with Art Division, February 15, 12-2pm Join Art Division students as they discuss their experiences and the creative process during the open workshops at Fisher. Public Speaking Workshop, February 16, 12-3pm Overcome the fear of public speaking and learn how to enjoy it in this workshop by USC School of Dramatic Arts Assistant Professor of Theatre Practice, Randy Mell. Art & Brain, February 17, 1-3pm Learn about the history and meaning of the neurological images that artist Katherine Sherwood incorporates into her art. Explore the tradition of interactions between artists and doctors who study the biology of the brain, dating as far back as the Renaissance Period. Featuring artist Katherine Sherwood, University Professor and Appleman Professor of Biological Sciences, Neurology, and Psychology Larry Swanson, and Postdoctoral Scholar Leonardo Christov-Moore. Community Days, February 4, 11, 18, 12-4pm Visit Fisher on the first three Saturdays of February to create your own artworks and contribute to Fisher and Art Division’s community murals. Experience the organic development of the exhibition throughout the three weeks.

Printmaking Workshop II, February 10, 12-3pm USC Roski School of Art and Design Professor of Fine Arts Ruth Weisberg will lead an introductory workshop on the nature of printmaking and the techniques it encompasses, followed by a demonstration of linocut technique for the audience to create their own linocut prints. 10 - The Workshops

Opposite: Xavier Fumas leading a printmaking workshop.


Top: Dan McCleary leading a pastel workshop. Middle: Randy Mell leading a public speaking workshop. Bottom: Karen Carson leading a figure drawing workshop Opposite: Margaret Lazzari leading a figure drawing workshop.


MIRACLES UNKNOWN THE PERMANENT COLLECTION EXHIBITION January 31 – February 18, 2017

While the Art Division students were engaged in their workshops, USC Art History undergraduate students curated an exhibition culled from Fisher’s permanent collection to serve as both art historical inspiration for the workshop participants and information about our collections for our other museum visitors. Miracles Unknown, ranged from seventeenth century paintings to contemporary art. This section includes a selection of images of those artworks. For a fuller display of the work that were on view, please go to our website, fisher.usc.edu. Each work in Miracles Unknown is described here in a short text by its curators Jade Matias Bell (J.B.), Madelyne Gordon (M.G.), Lauren Jones (L.J.), and Regina Chung (R.C.).

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Fruit Stand opens this section, serving as a unifying reference to Everyday Miracles and Unknown. California-born artist Robert Glen Ginder is most well-known for his

Similarly, this comparison over time suggests the notion of an un-

gold-leafed triptych works representing common objects such as still

certain future. To some, where food is concerned, the future has

lifes or Southern Californian stucco homes. His golden backgrounds

already approached: with the click of a button online, they no longer

adorn subject matters with gold and turn them into modern icons.

need to interact with live cashiers for food. Fruit stands to them are becoming “Unknown” relics of the past. To others, however, quality

In Fruit Stand, this style further becomes relevant to the theme of

food and sustenance are becoming more elusive. To this number

the exhibition Miracles Unknown in conjunction with other works

of people, fruit stands turn into the Unknown, its possibility or lack

displayed in both sides of the gallery. For example, look at Maria’s

thereof throw them into anxiety.

Great Expedition. Just as one follows Maria’s everyday rituals and errands through four decades, they find small details that would

Uncertainty can be either a miraculous or an uncomfortable quality,

have then characterized a quotidian fruit stand, such as the per-

when everyday objects are concerned. It can fascinate us in awe, or

pound price of a McIntosh apple, or the analogue scales that hang

throw us into depression. This push-and-pull of sublimity is sadly not

on each sides of the stand.

only an event of the fictional, but also of a remarkably practical reality. R.C.

Opposite: Robert Glen Ginder, Fruit Stand, 1986. Oil and gold leaf on wood panel, 47 3/4 x 62 3/4 inches.

Miracles Unknown - 17


Everyday Miracles We cannot always explain our own wonder. Whether it takes the form of shock, terror, or bliss, we assign a miraculous quality to the source of our strongest amazement and (often) head out to find it. Lives and volumes have been devoted to seeking out and materializing the miraculous. Only at the end of these pursuits, however, do we find that the root of amazement had been present in our daily lives all along. Our journeys and scavenging, no matter how misguided they may sometimes seem, develop our ability to appreciate these everyday miracles. Everyday Miracles is a testament to those journeys and that scavenging. The selections you see here, from the permanent collection of the USC Fisher Museum of Art, are testaments to the everyday miraculous in various ways: through medium, contents, history, and allegory. Works from series, such as Sin título (2002) by Sergio Belinchón and Christina Fernandez’s Maria’s Great Expedition (1995-1996), are literal examples of that journey. Other pieces, such as Carol Newborg’s Ark/Icon from her Gateway installation (1990), a part of an exhibition named Forbidden Entry, communicate an illusion of an arched window—beckoning but blocked. It asks the question: how to proceed when the forces appear to be against the journey itself? What it is about the quotidian that sometimes frightens us and keeps us from realizing the miraculous? Some works, like the Reverend Ethan Acres’s Miracle at La Brea, ask a slightly different question: when, and why, does the familiar give way to a miracle? The subject of our exhibition was also reflected in our process –digging through the permanent collection of the Fisher Museum, we found the miraculous to be all around us. In Robert Glen Ginder’s Fruit Stand, it was in the grocery store; in I Know Something About Love, it drifted through a window; some of it was so close that it was in our very bones, as in the Artists’ Hands. From the storage rooms of the museum, we assembled points of light into a constellation of miracles perceived and communicated by artists. We hope that it can serve as a reminder of the immediacy of the miraculous that is actually embedded into our daily lives—waiting to be noticed.

18 - Miracles Unknown

Left: Reverend Ethan Acres, Miracle at La Brea, 2000 Right: Rena Small, Artists’ Hans Grid Continuum: LouAnne Greenwald, 1986

Antonia Jade Matias Bell

Regina Yomyong Chung

USC Dornsife Art History Department

USC Dornsife Art History Department

Miracles Unknown - 19


Rev. Ethan Acres, Miracle at La Brea, 2000

Rena Small, Artists’ Hands Grid Continuum: Ed Ruscha, 1986;

Robert Rasely, I Know Something About Love, 1986.

The size of this piece is the most immediately striking thing about it,

LouAnne Greenwald, 1994.

This trompe l’oeil work appears at first to be a simple painting of a

dove as a classical symbol of peace, but a grey pigeon. Does the artist

and its material – ink on glass – gives it at once an impressive solidity

In these images, the hands of artists Ed Ruscha and LouAnne

window on what might be the side of a rusted-out ship, or perhaps the

mean to convey to us that Hunter’s elegance is enough to incarnate

and an almost ghostly fragility. Miracle at La Brea looks like viewing

Greenwald are approached as if they are subjects for conventional

scratched-up wall of a bathroom. Closer inspection, however, reveals

that virtue? It is the combination of technical and metaphorical

a memory (or perhaps a re-memory) of an inscrutable yet profoundly

portraits. Although these portraits contain no facial features or even

increasingly meticulous surreal detail: a model ship, an anatomical-

artistry that gives life to this painting, giving and maintaining

impactful event. In some ways, the composition parodies classical

bodies, they convey a wholeness through partiality: a kind of visual

heart-like shell hanging from a pin in the wall, a sketch of a vulva

miraculously to this day, a lasting life that beckons awe. R.C.

paintings of heavenly assumptions: Reverend Acres’ outstretched

synecdoche. The sculptural balance of Ruscha’s fingers on his palm

pierced by a fishhook. The dissonance between the incongruity of

arms, the bird-like angel wings on the back of the dinosaur. Reverend

and Greenwald’s symmetrical posturing lend these images a studied

these images and their hyperrealistic style gives Rasely’s painting

Arnaldo Roche, Difficult to Hide, 2014.

Acres makes surreal, vivid art centered around a radical sense of

tenderness. (The inclusion of text at the bottom of Ruscha’s portrait

a disorienting quality. I Know Something About Love’s hallucinatory

spirituality, and this piece is no exception: the mashing up of time

might also be seen as a coy nod to his text-heavy work.) The artists’

exploration of an unspecified emotional event gives us a glimpse

Contemporary Puerto Rican-American artist Arnaldo Roche (also

periods is at once absurd and completely natural. Like many of the

hands seem to emerge from nowhere, giving a mystical edge to

into a literal beyond while hinting at it in a series of myopic, detailed

pieces in this exhibit, Miracle at La Brea uses the language of what we

what most people might consider a practical, mundane part of the

visual metaphors. J.B.

know to convey something existing on the cusp of the unknowable.

body. To the artist, of course, hands are more than that – they are the

J.B.

physical centering of creative energy, the road to the mystical and

Angelica Kauffmann, Isabella Hunter, 1776-1790.

to livelihood. Looking at these pictures, one is reminded of a stage

In 1768, when King George III founded the Royal Academy of Arts in

at once American and Puerto Rican. This confusion, however, has

London, it had 34 members, only two of whom were women. Swiss-

gone through age and acceptance: the face lies with eyes closed, its

born history painter and portraitist Angelica Kauffmann was one of

long lashes pointing downwards the subtle smile on its lips; the blue

them. The sole traditional single portrait in this exhibition is Isabella

echoes peacefulness rather than sadness.

Christina Fernandez, Maria’s Great Expedition, 1995-1996.

magician, or perhaps the hands of an artist at work rather than rest.

This intimate series of photographs offers a highly personal view

What else might come from that darkness and appear like a sudden

of the migration of one of the artist’s ancestors through space and history. Christina Fernandez reenacts moments in her grandmother’s

miracle? J.B.

journey from Mexico to the US and back again using photographic

Judith Simonian, Fallen Vase, 1983.

technology appropriate for each era. A map is included to contextualize the images, grounding the mythology of family stories

known as Arnaldo Roche Rabell) is considered to be one of the most important Latin American artists today. Difficult to Hide “hides” a face behind bold patches of blue. This translucent face has paradoxical effects of calm and calamity, of identity and conformity. The chaos of blues parallels Roche’s personal struggles of being

Hunter (c. 1776-1790). The beautiful sitter donned with milky silk dress blushes bashfully, but does not shy away from confronting

In its indirect subject matter of individuality and identity, it relates

In this print, a vase is caught in an instant of crisis and transformation,

the viewer with her clear hazel eyes. Her direct gaze has qualities

to other paintings included in this exhibition, Angelica Kauffmann’s

moving away from itself and its physical integrity into chaos. It

not of lust, which was so often the trait given to female figures by

Isabella Hunter, Rena Small’s Artists’ Hands, and Salomón Huerta’s

in real space. The photos’ staged quality is evident and intentional,

seems to be spilling out its own form (its “guts”) onto the floor,

male artists, but of grace and serenity. As a result, Hunter’s dignity is

Cabeza. All of these paintings raise questions of the unknown both

but at the same time there is an uncalculated vulnerability to each

draining itself into an abstraction of scribble and shape. The liquid

elevated to an almost divine level.

within us and among others. R.C.

one; what might have come across as fraudulence instead feels

pouring from the vase is the only part of the composition to break

intensely honest. Fernandez, as Maria, is alive; she acknowledges,

the boundaries of the ghostly background. The forms in the distance

Hidden in the canvas are elements that act together to support the

dodges, and dominates our gaze. The intimate concept behind this

have already broken apart into entropy. The simultaneously belabored

sitter’s beauty; of course, these elements are given differentiating

work, as well as the loving attention to mundane detail in each image,

and agitated quality of Simonian’s linework raises a question: In an

treatment by the artist. She sits in front of a passing storm, which

pushes it into the canon of the exhibit. J.B.

instant of crisis, can the everyday indeed transcend itself into the

she may even have been intended to have calmed down with her

absurd and even otherworldly? We can recognize this shape as a

presence, edged with just enough shrubs. The face is most carefully

vase, but it looks ready to flatten, break apart, and disappear. J.B.

painted, with featherlike layers of brush strokes, creating a soft yet intense focal point. Curiously, she holds in her hands not a white

20 - Miracles Unknown

Miracles Unknown - 21


Carol Newborg, Ark/Icon, 1990.

Sergio Belinchón, Sin título, 2002.

When Ark/Icon was shown at the Fisher Gallery in 1992, it was

Spanish photographer and filmmaker Sergio Belinchón creates

physically entered through and beyond a wooden gate; it was part of

works that associate with human habitats, either directly or indirectly.

a larger Gateway sanctuary installation in the exhibition “Forbidden

Two untitled photographs here, part of a nine-piece project, remind

Entry.” In this, the principal piece, natural wood borders a window-

viewers of human pioneering, by showing paved roads in the middle

like frame that lures viewers into an unknown world beyond the white

of deserts. One wonders if at the end of these trails lie glorious cities

wall. The beams and arch encase a plaster-filled surface with three-

or abandoned villages; if they lead to lives of our era, or decades

level sunk-relief steps in the center. Common materials here create

back, or even forward into an uncertain future. It is exactly this kind

an eerily meditative effect. To what level does that meditation reach,

of questioning that perhaps led to infrastructure being laid on such

and what place does Ark/Icon take part in this meditation? Does it

barren lands, or maybe it was out of desperate necessity. These

create, or does it destroy? R.C.

photographs are intuitively simple yet extraordinarily quizzical— elements of curiosity that guide us to man-made miracles, for better,

Attributed to George Morland, Yarmouth Fort, 1803.

or for worse. R.C.

Often, travelers go through a disaster to reach an end to a journey. British painter George Morland depicts a shipwreck scene in a sublime Romantic style. The center of the canvas is left empty, with the majority of the action taking place on the bottom foreground and the right-hand side. Despite the subject matter, the scene is not entirely terrifying. The storm is subsiding, and crew members are miraculously saved. The piece was once part of Fisher Museum’s exhibition “A Selection of British Paintings.” 1The work was then criticized for its paint that “barely covers the canvas and is applied unevenly.” This exact technical failure, however, makes the work more appropriate for “Miracles Unknown,” proving the power of context. R.C.

Christina Fernandez, 1910, Leaving Morelia, Michoacan, Mexico from Maria’s Great Expedition 1995-1996 22 - Miracles Unknown

1 Jacqueline Crist, “Morland, George – attributed to. Yarmouth Fort, ” in A Selection of British Paintings, ed. Selma Holo et al. (Los Angeles: Fisher Gallery, University of Southern California, 1988), 22-23.

Miracles Unknown - 23


Unknown Part of the power of humans is our overpowering interest in explaining what is unknown. Our curiosity drives our experience, making us experiment, ponder, and create. But the unknown is also scary, particularly when it affects our everyday lives. The purpose of this exhibition is to discuss both what is unknown and how we deal with what we either do not understand or what is uncertain. In a time of political change, many are questioning the unknown in their everyday lives: access to healthcare, immigration, maintaining equal rights for minorities and women, as well as personal identity and belonging—all these issues are pressing and important because their resolution in the future is unknown. We have chosen works that specifically address these topical issues, expressing how artists depict and understand the complexities of the uncertainties that we are facing. However, the unknown is not a new concept. Every generation must deal with uncertainty, unrest and the unknown. And so, people have developed ways of explaining or discussing them. Religion, the Occult, science, technology, law and order, and art are examples of this quest. Therefore, we have compiled works that may also offer guidance and demonstrate how, throughout the ages, humans have tried to reveal, understand and find comfort with the unknown. The unknown can be terrifying and can cause chaos, but it is our job to actively confront these aspects of the human condition, and to not be passive in the face of doubt.

24 - Miracles Unknown

Clockwise from top left Ellen Lampert, Meaningful Relationship at 3pm, 1981 Jose Alberto Marchi, Nude Female with Dark Mask Loren Sandvik, Lucy Alamillo and Maria Ixchel Ramirez, 2000

Madelyne Gordon

Lauren Jones

USC Dornsife Art History Department

USC Dornsife Art History Department

Miracles Unknown - 25


Jose Alberto Marchi, Nude Female with Dark Mask, 2010

worthy of a soap opera storyline. Two men are being arrested by the

Francisco Toledo, Artist Book (Double Skeleton), 2003

Arturo Mallmann, Sin Título, 2004

Nude Female with Dark Mask, by Argentinean artist Jose Alberto

police and are being restrained against the cop car. Lampert conveys

Recalling a medieval manuscript illumination, Francisco Toledo’s

Sin Título, a mixed-media painting aptly described as a landscape

Artist Book (Double Skeleton), is a provocative rendition a common

of light, by Uruguayan artist Arturo Mallmann.

motif throughout Toledo’s work: skeletons. The conjoined figures

mixed-media paintings, Mallmann uses materials like fragments of

contemplate more than questions of death. While asking what

eighteenth-century doors to evoke a dreamlike, luminous journey

happens to us after we die is an inescapable concern of human

through space. Combining the distinct technique, “…applying

Marchi is made of two separate canvases joined together. The composition’s grey-scale color palette echoes the visual quality of just-developed film being viewed on a light table for the first time. Two notable themes present within this painting, contrast and duality,

a modern situation that remains strikingly relevant today through her languid depiction of the woman, unaware of the world around her. M.G.

Known for his

work in opposition and challenge the viewer to look inwards, and

Francisco Toledo, The Engineer, 1982

existence with no determinable clear answer, Artist Book (Double

innumerable coats of translucent acrylic paint between thick coats

in doing so, question his/her/their personal identity. This painting

The Engineer, a 1982 drawing by Mexico’s most famous living

Skeleton) also questions unknown problems in everyday life. The

of resin,” Mallmann’s Sin Título achieves a hazy, ephemeral quality.

contemplates inner tension that may hoist personal beliefs against

artist, Francisco Toledo, is a curious display of draughtsmanship.

gaunt ribcage, evocative of poor health, is a reminder of hunger

The soft white-ochre light radiating outward from the center—

societal values, what we do not know is ourselves. M.G.

Lines curve horizontally across both sides of the paper until they

and malnourishment, which are a result of lack of access to fresh

specifically, the area of transition where the lightest colors first begin

meet in the middle. Suddenly, emerging from the frame is a visage,

food that is nutrient-rich, clean water, and affordable healthcare.

receding into depths of the composition’s bottom half—anchors

Rena Small, Adam and Eve, Who Dunit, Adam?, 1991

transformed by lines merging into what roughly appears to resemble

Skeletons and skulls, frequently reused in Toledo’s body of work, are

perspective, reinforced by Mallmann’s subtle inclusion of a ground

One question that will never be answered is from where we came.

facial features. In the bottom quadrants of the composition a hand

seen as building upon on their metaphorical meanings, with their

line extending across the horizon. This technique produces a work of

holding a compass protrudes. Unlike the facial features, the hand

identities and interrelationships often clarified by their decorative

art best enjoyed piece upon which to meditate. In an artist statement,

conceals the lines with its shadow, interrupting the rhythm the lines

function. M.G.

Mallmann wrote,

Before science could answer this question, religion was used to reconcile this unknown. In Rena Small’s Adam and Eve, Who Dunit, Adam? biblical origins of mankind, and its transgressions, is called into question. Small’s insertion of ironic humor in the photograph, where Adam holds the forbidden fruit in front of Eve’s slightly open mouth, challenges preconceived notions of our patriarchal society.

established. “To me that thick foggy atmosphere where we constantly wonder This drawing can possibly be interpreted not as a physical depiction

Loren Sandvik, Lucy Alamillo and Maia Ixchel Ramirez, 2000

around and are unable to trespass, represents the barrier beyond

of Toledo’s subject, but a portrait of the subject’s personal identity

One of the greatest unknowns Americans face today relies on the

which lie the answers to those questions that we so frequently pose

M.G.

or even, perhaps his psychological state. On the one hand, Toledo

Ellen Lampert, Meaningful Relationship at 3pm, 1981

lines suggest instability of some sort; likewise, the imperfect circle

The unknown is ever-present in everyday life, yet, the world may pass us by and we may never realize it; relying on technology as a crutch for social interaction has dangerous consequences of missing what may have been in front of you the whole time. In Ellen Lampert’s watercolor drawing, Meaningful Relationship at 3pm, a woman sits in her kitchen, surrounded by insignia of domesticity; an oven mitt, a coffee mug, Pampers diaper bag, a mop, and a broom. Listlessly holding the remote, she rests her chin on the other, and watches an afternoon soap opera; ironically, mere steps from her door is a scene

26 - Miracles Unknown

projects what he already knows about his subject—the discontinuous drawn assumedly with the compass held in the subject’s hand, could be a similar cue—or it could all be fictitious, there is no way to truly know. The Engineer plays on our perceptions and without certainty, Toledo throws a wrench into our assumptions about not only this figure’s identity, but also our own personal identity. M.G.

implementation of the immigration policies passed by the Trump Administration. The photograph Lucy Alamillo and Maia Ixchel Ramirez, taken by Loren Sandvik in 2000, is a testament to this

to ourselves and to the universe, questions about our unknown origins and the meaning of our existence.”

conflict’s continued relevance in American life.

With these remarks in mind, Sin Titulo undeniably fits into the primary

An especially salient issue in Southern California, due to the

or reconcile the unknown as a perpetual fixture in human existence.

state’s proximity to the United States- Mexico border, hundreds of

mission of Unknown, which addresses the ways artists acknowledge M.G.

thousands of people are uncertain about their status in the country the now call home. This black and white photograph, showing a young woman holding her young child, with blood dripping down the young woman’s face is particularly poignant. The wound inflicted scarring not only the mother, but also her young daughter whose future becomes uncertain. M.G.

Miracles Unknown - 27


Johann Zoffany, The Cope Family, 1755

Salmon Huerta, Cabeza, 1991

Rufino Tamayo, Figura de Hombre, n.d.

Mira Bernabeu, En Circulo I, 2001

Johann Zoffany’s The Cope Family confronts the unknown through

In Salomón Huerta’s Cabeza, we are confronted by the back of the

In Figura de Hombre, Rufino Tamayo tackles the unknown by creating

En Circulo I by Mira Bernabeu, we are confronted by two separated

human relationships. As one of the greatest “conversation piece”

head. We are given no clues as to who this person is: what are they

an almost religious work, but still allowing us to see the everyday

but joined images: one is what we see everyday, a family portrait, and

painters of his time, Zoffany’s goal was to create images of interest

feeling? Where do they come from? What are they thinking? We aren’t

within the painting. The pose of the man with his stretched out

the other is something we never see, the same portrait, but without

to inspire viewers to discuss the piece. In The Cope Family, the family,

even given a glimpse of the subject’s face, yet everyone creates their

arms, as well as the light behind the figure creating a silhouette and

clothes and the subjects covered in blood. It is unsettling and dark to

though painted together, seems disjointed and each member seems

own story of who this person is based on practically no information.

long shadow invoke the obvious reference to Jesus on the Cross.

see an everyday experience morphed into a horror movie-like scene.

to be alone rather than connected. There is a sense of unease, that

We are forced to ask questions and try to uncover the answers based

However, other than the pose, there is no indication that this is in fact

As a modern day conversation piece and in the same line of artistic

is, a sense that no one truly knows where they stand in this family, or

on our own experiences but also our own prejudices, leading us to

a religious piece; instead, one could view it as very commonplace,

inquiry as Zoffany’s The Cope Family, Bernabeu creates mystery and

what the others think of them. The emotional distance between the

question both the unknown within others, and to question ourselves.

as just a man walking out of a room. By creating a work that is both

discussion for the viewer; there is no explanation or reason given

subjects makes it seem almost as though the subjects were painted

Cabeza is not simply a head, but it is a study of how we see others.

religious and mundane, Tamayo enables us to see religion as an

for the two scenes and thus is up to the viewer to unravel the story

separately then simply placed on a theater stage. The Cope Family

L.J.

everyday occurrence that can exist anywhere and be a part of any

and the relationships in the photographs. There is a vulnerability to

person. Tamayo’s unknown looks at how and why we see religion in

the image, showing the viewer that it can be painful to reveal the

our everyday lives. L.J.

unknown. Bernabeu is forcing us to see the unknown, showing that

can cause us to consider our own relationships and if we connect or remove ourselves from others. L.J.

this is always something behind the image, behind the person that

Willie Robert Middlebrook, POMP #329, In the Shadow of the Cross, 2001. Robert Farber, Western Blot #15, 1992

José Alberto Marchi, Landscape with Burning Bush, 2013

Willie Robert Middlebrook’s POMP #329, In the Shadow of the Cross

In Landscape with Burning Painting, José Alberto Marchi, known

confronts religion, specifically Christianity. Humans use religion to try

Robert Farber in Western Blot #15 addresses the still unseen and

as one of the modern Latin American Master, creates an image of

and grapple with or accept the unknown, and often we find comfort

taboo epidemic of AIDS in 1992. It was the taboo around AIDS that

mystery and uncertainty. The curators of this exhibition interpret

in the community and routine religion provides. In Middlebrook’s

caused it to be both an invisible disease in the sense that you could

the painting’s title as a subtle reference to Moses and the Burning

photographic painting, he decides to upset traditional Christian

not see the illness, but also in that no one wanted to talk about it.

Bush, in which God appears to Moses as a burning bush which is not

iconography by placing on the cross not Jesus, but instead a nude

Farber, by creating a visual diary of his decline and imminent death,

destroyed by the fire, and tells Moses to free the Israelites in Egypt

black female. In this work, Middlebrook allows the viewer to question

made us think about the inner and unseen torment that he and others

from oppression. The painting, depicting two men standing in front

who religion is for, and how identity affect our beliefs, traditions and

faced on a daily basis. His own figure looks like any other person you

of the burning artworks is a symbolic representation of perseverance

our own sense of community. Do we define ourselves and others by

may see on the street, but is still overpowered and hidden by his own

and freedom, declaring art cannot be destroyed and acts as a

our religion, our race, our gender or perhaps a combination of various

words. However, by including a mirrored side to his work, Farber

metaphor for discussing injustice and censorship. L.J.

forms of identity? L.J.

allowed us to examine ourselves, our own pain, fear, and prejudices.

we may never see or understand. L.J.

He wanted us to understand the unknown suffering and pain that exists in others, but also in ourselves. L.J.

28 - Miracles Unknown

Miracles Unknown - 29


THE ART DIVISION EXHIBITION & INTERVIEWS March 19 – April 8, 2017

The installation shots that open this section give a sense of the exhibition as it greeted the public. They are followed by interviews of each Art Division artist, conducted by our undergraduate art history students, accompanied by a full color image of one of their works in the exhibition. A full checklist follows in the appendix. The interviewers are identified by their initials (J.B., M.G., L.J., R.C.) and the artists are presented in alphabetical order with the exception of Javier Carrillo and Maria Galicia, alumni of Art Division and current staff members.

31


Panorama of Artists In Residence exhibition.


M AR IA GAL ICIA As s i s t ant Di re c t or

M

aria Galicia began working at Art Division in 2010

One of the most successful aspects of Art Division is the sense of

serving as its Assistant Director. Alongside Dan

community. The students are there to support each other. For this

McCleary, the two worked at HOLA (Heart of Los

exhibition, Galicia observed that “Students worked late, long hours in

Angeles) where they ran the art department for

the studio. It has been wonderful seeing the progress of their work

elementary school students through high schoolers. Dan created the

from one day to the next. And they all helped each other, especially

idea of Art Division, a place to provide artists from age 18 to 26 year-

when they got close to the deadline.”

old with free art classes. The sense of community permeates all aspects of Art Division. As one of the founding members of Art Division, Maria has watched

There is already a deep connection to the community since many of

it grow from a small space for all the classes to having separate

the students come from the surrounding area. Maria’s contribution

studios for printmaking, drawing, painting, a gallery, and an art library.

to Art Division fosters a place for artistic growth for these students.

In addition, she says it has been wonderful to watch the students

Her passion, presence, and readiness to help in any way she can,

grow as well, and see how their work has changed.

are invaluable; furthermore, her dedication to Art Division and immense support for the exhibition at USC Fisher Museum has been

To Maria, Art Division is different from similar programs because

instrumental in creating such success. L.J.

it is small, allowing everyone to know the students personally. “Our students already have the passion and the talent. We just provide the resources. They learn from and help each other, as well from our professional staff.”

Maria Galicia, Self Portrait, Linolium and Acrylic on fabric, 2017 34 - The Art Division Exhibition & Interviews

The Art Division Exhibition & Interviews - 35


JAVI E R CAR R IL LO O p e rat i on s M an age r / P ri nt m ak i n g I n s t ruc t or

T

he delicately balanced compositions of Javier Carrillo’s

Carrillo’s commitment and respect for his subjects, combined with

portraits, accentuated by flat application of color, lined

his progressive spirit, is manifested in the political themes in his

the east wall of Fisher’s Artist in Residence show. Carrillo,

work which “show we’re more than how they see us. We’re more than

Art Division’s Operations Manager and Printmaking

people selling flowers.”

Instructor, is a soft spoken person who uses his art to speak volumes. Carrillo says “culture, identity, and finding out who I am are

Carrillo has showed at Craig Krull Gallery, and his book of truck prints

the strongest influences on my art.” Blending his cultural roots and

was recently published by Nazraeli Press. He will have a solo show

personal experiences, Carrillo’s paintings often depict friends, family,

at Bakersfield Museum of Art in the fall of 2017. He will also have an

and members of the community in various roles.

exhibition in Oaxaca, Mexico in 2018. His work can be found in many

Born in Michoacán, Mexico, Carrillo moved to Los Angeles at the

private and public collections. M.G.

age of seven. Carrillo’s series Lotería–a popular game in Mexico— uses images on a deck of cards based on street vendors. Most of these vendors, Carrillo notes, come from Mexico and are an underrepresented group in contemporary art. Vicente is a large scale oil painting of a balloon vendor. It shows the man seated on a small stool carrying his balloons. Carrillo explained, “I tried to express how tired he was [after] walking miles all day. One day I helped him carry the pole, it was much heavier than I expected,” and after years of carrying the pole, the vendor’s shoulder had become indented.

Javier Carrillo, Vicente, Oil on canvas, 2017 36 - The Art Division Exhibition & Interviews

The Art Division Exhibition & Interviews - 37


AL F R EDO ALVAR ADO

A

lfredo Alvarado has always been drawn to making art,

His artistic process thrives on spontaneity and experimentation. He

but he decided to make it his career after attending a

does few sketches, retaining them mostly as “a reminder of the idea”

summer intensive course at LA’s Otis College of Art and

behind the piece rather than letting them dictate the final outcome of

Design. At Otis, he studied printmaking, collage, and

the work. That outcome is almost always unexpected. This element

environmental issues, and was able to further develop his technique.

of surprise is one of the things Alvarado finds most rewarding about

His move away from paper and toward cardboard is representative

being an artist: the process of creating the art itself.

of his fluid, creative approach toward materials and format – “I don’t feel like I have a style because it is always in flux.” Even his

Alvarado chose cardboard as his medium for this series because

inspirations are constantly changing. The serie in this show was

he wanted to move away from “safe” materials such as paper and

influenced by Ramiro Gomez’s carnival paintings, Botticelli’s Birth of

canvas, and even away from the “safe” square or rectangular shape

Venus, and Félix Gonzalez-Torres’s installation Untitled (Perfect Lovers).

of those materials. While cardboard is often seen as scrap material or strictly for drafting, Alvarado emphasizes that it all “depends on

Most of all, Alvarado finds inspiration in the intersections between

how you treat the medium.” He does not fully cover up the cardboard

the political and the intimate. Transition, Nightly Passion, Morning

in his work, believing this allows him to fully explore the limits and

Heartbreak, and In Memory Of… explore the beauty and peril of LGBT

possibilities of the material. His ethic of respect for his material

identity in today’s world. The series moves smoothly from celebratory

and his spirit of experimentation and discovery give his work a

to tender, finishing with a monument to those in the community lost

fascinating vitality, and he hopes this allows the viewers to further

to violence, suicide, and those affected by discrimination both in

connect with his work. J.B.

the past and present. “The successes of our community shouldn’t distract us from the work that’s still left to do,” Alvarado explains.

38 - The Art Division Exhibition & Interviews

Alfredo Alvarado, Transition, Acrylic on cardboard, 2017 In the permanent collection of Poet Laureate of Los Angeles Luis Rodriguez

The Art Division Exhibition & Interviews - 39


JE S SICA CUAUT L E

J

essica Cuautle’s portraits are truly labors of love. She

The subjects of the portraits, though, give Cuautle’s work its heart.

blends highly refined, work-intensive technique with the

The woman in Fluid, depicted with an ocean behind her, is an

desire to depict her subjects – usually her friends – in a

indigenous activist; the subject of Breathe the Fire is a survivor of

way that conveys the depth of their character with both

domestic abuse. Both are close friends of Cuautle, who calls these

sensitivity and power. Cuautle’s devotion to her craft is immediately

portraits of them “appreciation drawings.” She captures the things

clear: when she talks technique, you are aware that she is a skilled

she notices about the people she loves – one’s cheerful, fluid

problem-solver and an ambitious artist, always striving to challenge

presence or the other’s strong will and powerful stare – and captures

herself with new medias and subjects. One of her favorite things

them “so people can notice them too.” “That’s my way of being corny

about Art Division is the atmosphere of “informal competition” that

with people,” she laughs, but is careful to add that “these are not

motivates her to learn more and improve.

pretty portraits.” They are, indeed, much more than that – they are captivating, meticulously crafted windows into the souls of these

This desire to challenge herself was Cuautle’s first inspiration for

two women. J.B.

the portraits seen in the show – she pursued pastels specifically because they are “chalky and messy” and a difficult medium for her to work with. She felt inspired to recreate the buttery look of oils blending the work as much as possible, giving these portraits an airbrushed quality that feels reminiscent of mid-century Hollywood.

Jessica Cuautle, Breathe The Fire, Pastel on paper, 2017 40 - The Art Division Exhibition & Interviews

The Art Division Exhibition & Interviews - 41


E M M A NUEL GALVEZ

E

mmanuel Galvez is in a transitional state in his art career. As

bread] paintings. The color royal blue is derived from his self-portrait

one of the four founding members of Art Division, he is now

series. The paintings feature him wearing orange prison uniforms

building a name for himself in the Los Angeles art scene.

against a blue background.

Galvez grew up in Puebla and Mexico City, then moved to Los

In describing the Pan dulce series, LA Times critic Christopher

Angeles at age 12. He met Dan McCleary one summer at a non-profit

Knight writes “...Emmanuel Galvez presents painting as a delectable

organization called HOLA (Heart of Los Angeles) and built a mentor-

social confection.” In his integration of subject and materials--he

student relationship. They have worked together for nine years.

sees crumbs and glitter, as representations of society. Galvez has

Through Art Division, Galvez sees himself not only as a student, but

developed a clear, succinct and intelligent style. He is represented by

also as a mentor to his peers. He has helped them with techniques

Craig Krull Gallery in Santa Monica, and his work is in many important

and materials, and has also exposed them to various artists.

collections. R.C.

He currently teaches art at HOLA, and clearly sees the unique pedagogical needs in guiding children K through 12. While studying at Santa Monica City College, classes in political science, opened his eyes to the importance of social justice, and has inspired him to give back to his community. Galvez’s installation at Fisher is titled Reconstruction:Tierra de la libertad. [Land of Liberty]. It consists of 13 royal blue felt panels sprinkled with glitter. Razor blades pierce the tops in a flowing yet erratic pattern. The panels are arranged in a rectangular grid on the museum floor. He explains that while it is his first installation in a major museum, it features two elements that spill over from his previous work. The glitter and with reflecting light of the chilling Emmanuel Galvez, Reconstruction;”Tierra de la libertad”, Silver glitter, razor blades, royal blue felt, & panels, 2017

42 - The Art Division Exhibition & Interviews

razors, are reminiscent of the breadcrumbs from his Pan dulce [sweet

The Art Division Exhibition & Interviews - 43


AL EX GONZ AL EZ

A

t the intersection of exceptional draughtsmanship and

All but one of Alex’s works in the show are part of narrative driven series

lowbrow infused Pop Surrealism stands Alex Gonzalez.

imbued with motifs; abstracted characters, cartoons, and technicolor

A self-taught Los Angeles native who works under the

smoke plumes spawning into visages of beast-like creatures. Boy Dog:

pseudonym OtisWoods, Alex’s innovative vision evokes

A Dog’s Day Out is an early piece in the narrative sequence where Boy

an ineffable spirit and aesthetic. With influences spanning from

Dog, one of the protagonists, is introduced. The character, a hybrid of

science fiction, fantasy, and cartoons, to old masters like Caravaggio

young boy and his dog, has one body, but two personalities that can

and contemporary artists like Botero, Alex is acutely aware of art

“switch at will or simultaneously talk to each other.” The idea came

history’s role in popular culture.

from his imagining of the different world his dog, Rigby, sees when they go out for walks together. The scene shows beings Alex calls “Color

Alex began drawing at a young age when Luis Mateo, his older brother

Dwellers” playing with Boy Dog; meanwhile, in the upper left quadrant

and fellow Art Division student, encouraged him to take up art. Alex

a large eye, referred to as the antagonist, looks at Boy Dog from the

recalled, “We started training ourselves [to draw] without realizing

shadows, remaining unknown to him.

that’s what we were doing. All we knew was it was something we both enjoyed.”

Alex’s work can be found in many private collections throughout Los Angeles. M.G.

Alex Gonzalez, Boy Dog, The Case, and Big Sister, Acrylic on canvas, 2017 44 - The Art Division Exhibition & Interviews

The Art Division Exhibition & Interviews - 45


LU IS HERNANDEZ

L

uis Hernandez’s installation, Your Child, was composed of photographs capturing the similarities in two diametrically opposed subjects: Churches and Nightclubs. Having grown up in a conservative Christian home and attending

services, to now living a lifestyle of parties and nightclubbing Hernandez states, “they both connote ritual to me. I also saw both as a form of escape and comfort, but also they posed similar problems. This installation is just the beginning of me stepping away, analyzing and documenting these worlds.” In some of his earlier work, Hernandez was inspired by garment factories. “There is a hidden world that most people don’t know about. The conditions are bad, suffocating heat, and people are overworked.” He decided to document the “behind the scenes” world of fast fashion primarily using his photography, taking photos of the workers both at work and as portraits, as well as recording their stories. He also uses his skill in graphic design to create posters for rallies and protests that help bring awareness to the conditions of garment workers. He uses his art to tackle subjects most people don’t think about, and exposes the viewer to other worlds that might otherwise go unnoticed. Hernandez credits his family for his interest in art and design, his parents are very supportive. While his work is highly aesthetic it also conveys a much deeper message. L.J.

Luis Hernandez, Your Child (installation), photographs, c-prints, 2017

46 - The Art Division Exhibition & Interviews

The Art Division Exhibition & Interviews - 47


LUIS MATEO

S

tepping in front of one of Luis Mateo’s paintings, the

Unlike much of his other work, he approached this painting with no

viewer is first confronted with their monumental quality.

intention or consistent technique, using brushes, forks, sanders,

His painting Cría cuervos y te sacarán los ojos feels

and his own hands to apply the layers of paint. Each layer, Mateo

both grandiose and intimate. He was influenced by the

says, had a connection to his life: at one point, he stuck over 1,000

sharp chiaroscuro of the baroque era as well as classical still life

pieces of blue painter’s tape on the canvas, painted over them, and

paintings. Mateo creates work that feels grand, but his style is far

peeled them off one by one, a process he says reminded him of when

from an imitation of technique. Cría cuervos y te sacarán los ojos was

he used to work in construction. When he began to paint with his

inspired by The Four Horsemen of the Apocalypse, and a combination

hands, he was reminded of finger painting as a child. This intimate,

of different ideas about the crow. These multiple concepts derive

emotional connection between the artist and the work makes

from the point of view of religion, culture, science, and other sources.

Mateo’s Self-Portrait feel both highly accomplished and electrifying.

When Mateo was a child his mother would say, “escuchastes al

Mateo’s width of technical knowledge and his depth of connection to

cuervo? Alguien se habrá muerto o se va morir… Ten cuidado”. [Did

his work combine to create an arresting visual experience. J.B.

you hear the crow? Someone died, or is about to… be careful.] Mateo states, “There are many speculations on the symbolic meaning of the crow - I did some research, collided all these notions, and gave it my own twist.” Many of his influences are literary: he was inspired by Robert Henri’s The Art Spirit, as well as the writings of Socrates, Aristotle, and other philosophers. He cites Caravaggio as a major influence, along with the contemporary artist Roberto Ferri. As a child, his love of art was sparked by copying drawings of cartoons along with his brother (who now creates under the name OtisWoods). Mateo explains that Self-Portrait was constantly changing, and involved between ten and twelve layers of paint. Describing its process as more “loose” than the intensely technical Cría cuervos y te sacarán los ojos. Luis Mateo, Cría cuervos y te sacarán los ojos, Oil on canvas, 2017 48 - The Art Division Exhibition & Interviews

The Art Division Exhibition & Interviews - 49


R OB ERTO ORT IZ

R

oberto Ortiz notices the beauty and detail in even the most basic objects, finding what people don’t notice, and then through his paintings, allows us to see this hidden visual world. Inspired by artists such as Wayne Thiebaud,

Roberto’s work is colorful and whimsical, but also thought-provoking. For the past three years, he has focused on capturing the chairs at the Walt Disney Concert Hall. Roberto worked at the concert hall, and every night, he would notice the chairs: their geometric pattern, their curved shape, and their colors all captured his interest. He first began sketching the chairs, then moved on to painting—his favorite medium because of the feeling, texture, and colors that acrylic paint provides. He says working at the Concert Hall allowed him to get a behind the scenes look, and the opportunity to study and appreciate the details inside the building, while most just marvel at the exterior. His chairs appear to be larger than life, each with a different feel, some more abstract and geometric while some are more realistic. Roberto says there is something almost spiritual about the chairs— they remind him of people, in the sense that they have arms and legs, but are also built specifically for humans. As he says, “Everything around us is built for us, everything is meant for humans and someone designed all of it for our own purpose.” But at the same time, all of these objects have their own life and individuality. Roberto says his favorite piece is Juntos, two chairs next to each other, because, according to Roberto, “not being alone is beautiful.” L.J.

Roberto Ortiz, Juntos, Acrylic on canvas, 2017 50 - The Art Division Exhibition & Interviews

The Art Division Exhibition & Interviews - 51


YUYA PAR K ER

A

lthough Yuya Parker started out studying architecture

These influences, combined with his expert sense of space, results in

and landscape design in his native Japan, he began

still lives that looks almost hallucinatory. The photos often resemble

to pursue food photography when he moved to Los

paintings, and the bright, unreal color schemes push the work into

Angeles and found himself captivated by the rising

the realm of the surreal. The influence of ikebana is clear in his work

trend of cupcake shops. Parker appreciated the cupcake’s organic,

and blended with an acute sense of surrealism. The elements he

elegant aestheticism, and he soon began frequenting flower stands

uses appear to have grown organically together rather than merely

and farmer’s markets in search of other unique items to photograph.

existing in arrangements with each other. The result is akin to an

Croissants are also a favorite subject. He has worked with a wide

alien landscape. Parker captures the eye by breathing new life into

variety of materials, but says he first and foremost “wanted to make

ordinary objects.

it simple and just enjoy the beauty of food.” Despite how seriously he takes his subjects (food), Parker While his move from architecture to photography might seem

emphasizes that his work is about celebrating its simplicity and

drastic, Parker sees his current work as not dissimilar to his previous

beauty. Just as ikebana can translate to “giving life to flowers,”

artistic pursuits. “When I take a photo,” he says, “I can create my

Parker’s work gives life to the simple objects it captures. He hopes

own space inside the camera…I use the camera frame like an artist

the viewers can gain access to his vision of infusing his subjects

uses a canvas.” He appreciates the comparison of his photographs

with a sense of humor and joy. “That’s always my big concept,” he

to paintings and describes photography as “painting with a camera.”

says. J.B.

As a child, Parker’s grandmother had practiced the Japanese art of ikebana, or ritual flower arrangement, which proved to be an inspiration for his still life compositions. He also drew inspiration from Keith Haring’s bold lines and dynamism and Ellsworth Kelly’s simplicity and strong sense of color.

Yuya Parker, A pear with gold, premium archival matte paper, 2016 52 - The Art Division Exhibition & Interviews

The Art Division Exhibition & Interviews - 53


G U I LL ER M O P ER EZ

G

uillermo Perez’s love of graphic design comes from two childhood sources: his love of soccer, and comic books. He loved the badges, crests, colors and symbols of the soccer teams he enjoyed watching. Comic books

inspired him in terms of typography, style, and creating emotion through an image. His favorite comics were dark, based on real life locations, and took place in communities similar to his own; it should come as no surprise that Daredevil is one of his favorites. Because of these inspirations, Guillermo became interested in graphic design and began making his own posters, logos and emblems for fictional teams and companies. Though still inspired by comics and soccer, he focuses now more on creating art that shows the history of his community and neighborhood of Westlake and MacArthur Park. He depicts how his neighborhood has transformed and how there is more to his community than what many might think. He says he wants to create a personal vision of what most people don’t see, and show a community that most people don’t know. Art Division has given him the opportunity to tell his own story through graphic design. He hopes to share both his art and knowledge with his community because of the prevalence and importance of graphic design in every part of our lives. He also hopes that graphic design can make the residents of Westlake proud of their neighborhood and that people will want to show their own stories and views of the world. L.J.

Guillermo Perez, Westlake, Digital Print, 2017 54 - The Art Division Exhibition & Interviews

The Art Division Exhibition & Interviews - 55


JAIR O P E R E Z

I

nspired by comedy and everyday life, Jairo Perez’s work comes

His painting Sarah employs contrast in his approach to conveying her

across as deceptively placid. The darker elements in his

personality. Simultaneously relaxed and structured, the composition

artworks (interestingly, his most prolific periods are prompted

is neatly kept and the subject remains distinct from its surroundings.

by sadness, anger, frustration) should be viewed as a dynamic

He communicates everything he thinks about Sarah without using words.

exploration of his subjects’ personalities. Jairo’s work extends far beyond portraits of other people. He paints From the earliest stage of planning, Jairo takes great care when

a version of himself where he exists outside his mortal coil, as if he

he first sketches a model. He investigates the pose, gesture, and

is giving the viewer a peek behind the stage curtain. The dissociative

facial features before beginning a gridded draft for the final piece.

air of his drawings demonstrates a vast awareness of the world

Jairo’s unique handling of color through various mixed media - ink,

around him, and how he sees himself in it as a creator. M.G.

watercolor, colored pencil, airbrush, and acrylic - brings his portraits to life. As Jairo puts it, “this adds an unexpected twist to reality.” Jairo, a Los Angeles native, likes to augment his subjects’ features, whether it be eye or hair color, or in his other works, bold elements of fantasy such as wings or bones sprouting from limbs. “My work is about creating a message. It is not only what I see, but more or less what I’m thinking about.” Through these creative additions, Jairo’s relationships with his subject become channeled through his work.

Jairo Perez, Title, Mixed Media on Paper, 2017 56 - The Art Division Exhibition & Interviews

The Art Division Exhibition & Interviews - 57


VICTOR R EYES

F

or this exhibition, Victor Reyes uses a singular motif of cartooning. He credits his genes for his talent. He comes from a large artistic family - his father does woodwork, his mother sews, and his older brother, who he looked up to in

terms of art, draws and paints. Reyes has lead a nomadic life that involves much observation. With many of his family still in Mexico, he continuously travels back and forth. Victor says he often feels like an outsider both in the United States and in Mexico. Even though he is the same person, people often perceive him as someone different than who he is. Perhaps that’s why he draws human figures. In drawing them, he creates a sense of equality. His sketchbook shows the process through which he arrived at his unique style. From these simple lines, Reyes drew different identities. Two of the works at Fisher are delicately crafted quilt-like constructions featuring these cartoonish faces, each with differing sexuality, ethnicity, and identifying traits. In one of the pieces, no individual is afforded mercy. Everyone is given derogatory nicknames. Reyes wants to deliver the message that although we are, indeed, all different, we are also one; and that although we are one, we are also different. R.C.

58 - The Art Division Exhibition & Interviews

Victor Reyes, Untitled Black Background), color pencil, black gesso, yean and bamboo on paper, 2017

The Art Division Exhibition & Interviews - 59


JORDAN VAZCONES & MILTON LAZARO

P

Jordan Vazcones & Milton Lazaro, Static, Experimental Short Film, 2017

laying on a loop against a corner wall of the Fisher

risks. Work like Static was very new to both of them; whenever Lazaro

Museum is a non-narrative film work by Jordan Vazcones

felt unsure of creating something that might be phony, Vazcones

and Milton Lazaro. The work, titled Static, aptly involves

was there to push him beyond his comfort zone.

the use of grainy static and warped cuts inspired by all but

forgotten VHS tapes. Between static, Jordan and Milton appear on

Like much else that happens at Art Division, a lot of Vazcones and

an empty stage, sometimes as actors, and other times as members

Lazaro’s work has been based on trust and collaboration. Film

of the audience. They recite original poetry, scribble madly on paper,

production is unique among other arts because of its developmental

and look behind their backs in fear of something that is creeping

stages. Pre-production consists of visionary and ideological

towards them. As the film loops, each repetition gets shortened, and

discussion with almost no evidence of visual proof. This stage

new sequences are added, including a fork combing through spilled

contrasts with production and post-production, where the art and

pepper, like a hand sifting through sand. Initially, the faces of the

craft is highly collaborative and teamwork based. The film collective

actors’ are fraught with frustration, but quell as the film progresses.

at Art Division, which they are both founding members, gave

The cuts get faster and faster, and little by little the angst subsides.

feedback on their piece and ample support. Vazcones and Lazaro

Achieving balance between clarity and instability, the harsh static

are proud of the end result of their work,and feel their contributions

eventually dissolves into background noise.

enhanced its overall quality.

In conversations with each director, I could see that this work

Before Art Division, both participated in a writing and acting

reflects who they are, and how they worked together in producing

program called Will Power to Youth at the Shakespeare Center of

their first non-narrative film. Prior to Static, Vazcones and Lazaro

Los Angeles. Through common friendships and word of mouth, they

worked mainly on writing, photography and acting for narrative

were introduced to Art Division and now spend much of their time in

short films, both in and out of Art Division. Static was their first

either the Library or the Studio there. Art Division and Dan McCleary,

time working together exclusively, and they both feel fortunate to

the artists say, not only provided them with the complete trust and

have done so, despite their different personalities. Vazcones and

freedom to venture out with their art, but also granted them with

Lazaro both acknowledge their unorthodox artistic chemistry and

encouragement and curiosity from their fellow artists. R.C.

the productive dynamic between them. Lazaro shows more restraint and attentiveness, while Vazcones is more relaxed and eager to take

60 - The Art Division Exhibition & Interviews

The Art Division Exhibition & Interviews - 61


APPENDIX 64 - Art Division Timeline 68 - Miracles Unknown Exhibition Checklist 72 - Artists in Residence Exhibition Checklist 75 - Acknowledgements

63


ART D I V I S I ON T R A I N I N G U ND E R S ERVED

A

rt Division was founded in 2010 by Dan McCleary with the assistance of Javier Carrillo, Maria Galicia, and

Elementary School in Gardena •

Emmanuel Galvez. Art Division serves young adults

Students take a field trip to Ojai, CA to visit artist John Nava’s studio for a figure drawing class

ages 18 to 26 in the Rampart district who are interested

Quarterly art retreats to Andrea Rich’s home in Ojai begin

in the visual arts. It has intentionally remained small so that it can

The Art Division Gallery opens with the exhibition FLOWERS

provide its students with an extensive and personal support system

“Meet the Artist” series begins with Karen Carson and Lucas Reiner

including mentoring, college counseling and tutoring services. We also provide valuable resources such as a comprehensive art library, computers, and printmaking, painting studios and drawing studio. Our classes include: Creative Writing, Drawing, Printmaking, Art

2011

We Attain Non-Profit Status •

Art Center student Hsin Chen designs our logo

The Lana C. Literacy Program is established to focus on reading, writing, and speaking about art

By providing students with the techniques, and skills they would otherwise go without, we believe each participant can maximize

Al Hurwitz, painter and arts educator gives a lecture

their potentials as artists and individuals.

Javier Carrillo designs an original tapestry by John Nava for the University of Southern California - it hangs at the Ronald Tutor

2010

Campus Center •

Art Division Begins Art Division receives a donated space through the Los Angeles

“Portraits” exhibition opens at Harris & Ruble Art Gallery

Randy Mell leads workshops on public speaking

Our students tour the archive of master drawings and view the

Student exhibition Nuestra Vida opens at the Artcore Brewery Annex

Gronk creates a mural with Art Division students

Art Division does a live mural at Secret City Theater and the Bootleg Theater

18 to 94 opens featuring work by Art Division students, artists from the Lubner Studio and residents of the Tides Senior Center

Students paint an interactive 8 x 20 foot live mural with audience

Housing Partnership

John Densmore leads a discussion on how artists can find inspiration through music

Holds its first drawing class taught by Dan McCleary

Michael Kearns leads our first writing workshop

Lucas Reiner and Dan McCleary lead an art history class

We begin our printmaking collective run by Javier Carrillo

Our first studio visit is with Printmaker June Wayne

In partnership with Skylight Theatre, we conduct our first annual

Art Division’s official Board of Directors is formed

Thanksgiving food give-away and exhibition, Alimento, where we

We partner with Big Sunday in creating two murals - one at Sunny

prepare 100s of sack lunches and distribute them to the needy in

Brae Elementary School in Winnetka and the other at Chapman

the MacArthur Park area of Los Angeles

We keep the Alimento Thanksgiving food give-away tradition going

Studio Visits and Meet the Artist Series continue with: Mark Bradford, Kenny Scharf, Peter Zokosky, Bruce Richards, and Gronk

2013

The Opening of Our Library & Painting Studio •

Art Division grows and acquires additional space including a library and studio

Javier Carrillo, alumnus, Emmanuel Galvez, student, and Dan McCleary have an exhibition at Craig Krull Gallery which is reviewed in the LA Times

Twitter Art Exhibition holds a fundraiser in which artists from around the world donate postcard-sized art to benefit Art Division

Students join with “The Virginia Project” and “UCLA Arts and Healing” in three performances of Dark to Light

Students create masks for Drown the Alarm, Mitchell Klebanoff’s video about global warming

Studio Visits and Meet the Artist Series continue with: Don Bachardy, Sandeep Mukherjee and Writer Ken Fields

2014

Launching Our Outreach Programming •

We are invited to teach a printmaking workshop in Florida. Through this experience we create our community outreach program:

members at a Tedx event in Manhattan Beach

Stephanie Gordian and completed by Art Division Mural crew at

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Student Begin Exhibits & Murals in the Community

Through Big Sunday, a third mural is designed by student Selma Elementary School in Hollywood

2012

permanent collection of the Getty Museum

History, Current Events, Film Collective, Simple Cooking, Graphic Design and Painting.

YO U N G A D U LTS IN THE V I S UAL ARTS

LEARN, DO, TEACH •

Students Robert Ortiz and Alex Gonzalez have a two man show at Art Division Gallery

Art Division creates its first ZINE

Mobile Arts Platform (MAP) and The Getty Center work with our students to create block prints

Our community outreach program grows: Two of our students teach at a local elementary school providing free art classes to first graders. This is an ongoing program

Curiouser and Curiouser opens - an exhibition based on Alice’s Adventures in Wonderland by Lewis Carroll

Jessica Cuautle, Luis Mateo, and Guillermo Perez receive scholarships for Art Center at Night, the beginning of an ongoing relationship with Art Center

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Jason Mendoza and Jessica Cuautle assist Konstantin Kakanias

Student Emmanuel Galvez has a one man show at Craig Krull Gallery

with making decorations for the Christmas tree at The Huntington

Luis Mateo becomes student body president

in San Marino, CA

Students visit the Pasadena Museum of California art and view the

Catherine Hess, Chief Curator of European Art gives a tour of The Huntington, and Art Division starts building a relationship with the

Sister Corita exhibition •

museum •

Studio Visits and Meet the Artist Series continue with: Karen

Luis Hernandez and Herica De Casas have a Photography Exhibition

• •

Luis Mateo is off to Penland School of Crafts in North Carolina

on their life, work, education and art goals •

Hernandez have gone since •

Television writer Ellie Herman runs an intensive screenwriting Opening reception for Art & Spirit at the Catholic center at USC

Hosted by Maria Galicia and Karen Carson, Women’s Pages is held in the library with thirty Los Angeles-based female artists and

Art Division starts building a partnership with the Mexican Consulate

An exhibition of Art Division student drawings made during the last five years is held at Loyola Marymount University

Studio Visits and Meet the Artist Series continue with: Filmmakers

students - women artist books are collected and discussed

Rodrigo Garcia, Jeanne Field and John Binder, Marjorie Nielsen,

We return to Gadsden Art Center in Quincy, Florida with Jessica

and Anthony Rich and artists James Brown and Don Bachardy

Cuautle and Luis Mateo to teach a week-long printmaking workshop •

Santa Barbara Museum invites us to teach a printmaking workshop and design Day of the Dead altar

workshop for aspiring filmmakers •

Current Events, College and Career, Painting, and Graphic Design •

• • •

Students begin work on their pieces for the USC exhibition

Studio Visits and Meet the Artist Series continue with: Roberto Gil De Montes, John Valadez, Peter Zokosky, Tryno Maldonado, Pierre

We host the exhibition Ayotzinapa, which originated in Mexico and

Picot, Pilar Gallegos, Kaleeka Bond, F. Scott Hess, Gwynn Murrill, Ruth Weisberg, Sandra Cornejo, Jack Taylor

Our 2nd Art & Spirit exhibition held In collaboration with the First Congregational Church of Los Angeles and Joan Quinn, attracts over 300 visitors on opening day. John Seed writes an article about the show for the Huffington Post

Jessica Cuautle is included in a group show OB.VER.SATIONS at Long Beach City College with Dan McCleary

Art Division is invited by the Incredible Children’s Art Network to hold workshops in Santa Barbara Elementary Schools

Art Division partners with Stamps & Stamps to create a window for Claremont Furnishings as part of LCDQ-LA

John Densmore leads a drum circle in Art Division’s library

Fernando Sandoval visits from Oaxaca to conduct a week of printmaking workshops at Art Division

We announce our collaboration with USC’s Fisher Museum - Artists in Residence

Political Graphics - the LA Times reviews the show •

Roberto Ortiz, Jairo Perez and Javier Carrillo have an exhibition of prints at Craig Krull Gallery

traveled to Los Angeles via SPARC and the Center for the Study of

League’s

We hire a college and career counselor to work with our students

Our classes now include: Creative Writing, Art History, Film Collective, Printmaking, Advanced Drawing, Beginning Drawing,

auction •

on full scholarship for two weeks. Jason Mendoza and Luis

Art Division students Jessica Cuautle, Luis Mateo, and Alex Gonzalez donate art pieces to the Anti-Defamation

Students Receive Scholarships to Art Programs •

Students read Frankenstein by Mary Shelley and we open Frankenstein an exhibition inspired by novel

2015

We Are Now Open Six Days a Week

Immigration and Cultural Memory

Carson, Lynne Berman, Joe Goode, Filmmaker Marta Cunningham, Photographer Leopoldo Peña, Writer Stephanie Waxman

Students also visit the exhibit SPARC. NEW CODEX: Oaxacan

2016

2017

Partnering With USC •

USC Fisher Museum of Art/Art Division: Artists in Residence project and exhibition

Printmaking students work with Xavier Fumat at USC printmaking studio

Annenberg Beach House exhibition opening in June

Art Auction at Craig Krull Gallery in August

Huntington Library Exhibition opening in September in conjunction with the LA/LA initiative

Student Yuya Parker has a solo exhibition, Food as Contemporary Art, in our gallery

Jairo Perez and Jessica Cuautle have a joint exhibition

Milton Lazaro and Ronnie Gonzalez are accepted and receive scholarships for Inner-City Filmmakers

Fabian Cereijido leads a workshop to train our students on the Reggio Emilia approach to teaching

Student Emmanuel Galvez exhibits at Vincent Price Art Museum as part of Cheech Marin’s collection

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Miracles Unknown Exhibition Checklist Miracles

Unknown

Rena Small (United States, b. 1954)

Jose Alberto Marchi (Argentina, b. 1956)

Robert Farber (United States, 1948-1995)

Arturo Mallman

Adam and Eve, Who Dunit, Adam?

Landscape with Burning Painting

Western Blot #15

(United States, b. 1953 Uruguay)

Mira Bernabeu (Spain, b. 1969)

1991

2013

1992

Sin título

Arnaldo Roche (Puerto Rico, b. 1955)

En Circulo I, Mise en Scene 1 series

Black and white photograph

Oil on canvas

Oil, silver mylar, charcoal on wood panel

2004

Difficult to Hide

1996

6 13/ 16 x 4 5/8 inches

10 x 9 inches

40 x 62 inches

Mixed media on 18th century Italian door

2014

Chromogenic print

1999.10.04

Gift of the Estate of Dr. and Mrs. James L.

Gift of the Robert D. Farber Foundation

fragment

Oil on canvas

54 3/8 x 40 inches

Gift of Andrew Schwartz

Sheehy

1999.04.01

27 ½ x 43 inches

33 x 20 inches

Purchase Fund

Gift of the Estate of Dr. and

2004.05.01

Mrs. James L. Sheehy

Purchase Fund 2001.06.01a, b

2016.08.06 Jose Alberto Marchi (Argentina, b. 1956)*

Francisco Toledo (Mexico, b. 1940)

Nude Female with Dark Mask

Francisco Toledo (Mexico, b. 1940)

The Engineer

Johan Zoffany

Oil on canvas

Artist Book (Double Skeleton)

1982

Robert Willie Middlebrook

Angelica Kauffman

(Frankfurt 1733 - London 1810)

8 x 16 inches

2003

Silver point on wove paper

(United States, 1957-2012)

(Switzerland, 1741-1807)

The Cope Family

Gift of the Estate of Dr. and Mrs. James L.

Handmade paper and ink

15 x 11 inches

POMP #329, In the Shadow of the Cross

Isabella Hunter

c. 1775

Sheehy

17 x 10 ½ x ½ inch

Gift of the Estate of Dr. and Mrs. James L.

1992

1776-1790

Oil on canvas

2016.08.07

Museum Purchase

Sheehy

Gelatin silver print-photographic painting

Oil on canvas

2003.05.05

2010.08.19

66 ½ x 39 7/8 inches

30 x 25 inches

Purchase Fund

The Elizabeth Holmes Fisher Collection

2001.14.01

EF:39:21

39 ½ x 50 inches

2016.08.02

The Elizabeth Holmes Fisher Collection

Salomón Huerta (United States, b. 1965)

EF:39:41

Cabeza (Back of Head)

Ellen Lampert (United States, b. 1948)

Loren Sandvik (United States, b. 1967)

1999

Meaningful Relationship at 3pm

Lucy Alamillo and Maia Ixchel Ramirez

Rufino Tamayo (Mexico, 1899-1991)

Oil on canvas

1981

2000

Carol Newborg (United States, b. 1954)

Figura de Hombre

12 x 11 inches

Watercolor on paper

Gelatin silver print

Ark/Icon

n.d.

Purchase Fund, Museum Studies Program

18 x 24 inches

30 x 32 inches

1990

Embossed lithograph

Class of 2001

Gift of Emanuel Culman

Gift of Acuña-Hansen Gallery

Wood, plaster, plywood

30 x 22 inches

1999.01.01

1984.05.01

2000.07.01

32 x 37 x 4 inches

Gift of Mr. and Mrs. Mark Sullivan

Gift of the Artist

1980.06.08

1990.04.01

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Rena Small (United States, b. 1954)

Robert Rasely (United States, 1950-2005)

Christina Fernandez (United States, b. 1965)

Christina Fernandez (United States, b. 1965)

Christina Fernandez (United States, b. 1965)

Artists’ Hands Grid Continuum: Ed Ruscha

I Know Something About Love

Composite map

1927, Going Back to Morelia

1950, San Diego, California

1986

1986

from Maria’s Great Expedition 1995-1996

from Maria’s Great Expedition 1995-1996

from Maria’s Great Expedition 1995-1996

Silver gelatin print

Oil on birch

Iris print

Silver gelatin print

Chromogenic print

20 x 16 inches

36 x 36 inches

20 x 16 inches

20 x 16 inches

20 x 16 inches

Purchase Fund, Museum Studies Program

Gift of Mr. Barney Rosenzweig

Purchase Fund, Museum Studies Program

Purchase Fund, Museum Studies Program

Purchase Fund, Museum Studies Program

Class of 2002

1999.02.02

Class of 2004

Class of 2004

Class of 2004

2002.06.03a

2002.06.03d

2002.06.03g

2000.12.02 Reverend Ethan Acres Rena Small (United States, b. 1954)

(United States, b. 1970)

Christina Fernandez (United States, b. 1965)

Christina Fernandez (United States, b. 1965)

George Morland (British, b. 1763–1804)

Artists’ Hands Grid Continuum: LouAnne

Miracle at La Brea

1910, Leaving Morelia, Michoacán, Mexico

1930, Transporting Produce, Outskirts of

Yarmouth Fort

Greenwald

2000

from Maria’s Great Expedition 1995-1996

Phoenix, Arizona

1803

1994

Ink on Plexiglas

Sepia toned gelatin print

from Maria’s Great Expedition 1995-1996

Oil on canvas

Silver gelatin print

96 x 42 inches

20 x 16 inches

Silver gelatin print

28 x 36 inches

20 x 16 inches

Purchase Fund

Purchase Fund, Museum Studies Program

20 x 16 inches

The Elizabeth Holmes Fisher Collection

Purchase Fund, Museum Studies Program

2000.20.01

Class of 2004

Purchase Fund, Museum Studies Program

EF:39:29

2002.06.03b

Class of 2004

Class of 2002 2000.12.04

2002.06.03e

D. Sergio Belinchón (Spain, b. 1971) Sin título

Christina Fernandez (United States, b. 1965)

Judith Simonian

2002

1919, Portland Colorado

Christina Fernandez (United States, b. 1965)

(United States, b. 20th Century)

Color photographs mounted on metal

from Maria’s Great Expedition 1995-1996

1945, Aliso Village, Boyle Heights, CA

Fallen Vase

39 x 26 inches each

Sepia toned gelatin print

from Maria’s Great Expedition 1995-1996

1983

2003.01.01, 2003.01.02

20 x 16 inches

Silver gelatin print

Etching

Purchase Fund

Purchase Fund, Museum Studies Program

20 x 16 inches

31 ½ x 24 inches

Class of 2004

Purchase Fund, Museum Studies Program

Donated by the Community Redevelopment

2002.06.03c

Class of 2004

Agency of the City of Los Angeles

2002.06.03f

2012.04.12

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Artists in Residence Exhibition Checklist Alfredo Alvarado

El Globero, 2016

Emmanuel Galvez

Transition, 2016

Medium: oil on wood panel

Reconstruction;”Tierra de la libertad”, 2017

Medium: Acrylic on cardboard

Size: 36 x 24 in

Medium: Silver glitter, razor blades, royal blue felt, and panels.

Nightly Passion, 2016

Vicente, 2017

Medium: Acrylic, pastel, ink, and

Medium: Oil on canvas

cardboard pulp on cardboard

Size: 7 feet x 5 feet

Luis Hernandez

Yuya Parker

Starboy, 2017

Your Child (installation), 2017

A pear with gold, 2017

Medium: Mixed Media on Paper

Medium: photographs, c-prints

Medium: premium archival matte paper

Size: 24” x 18”

Size: 2 pieces 11” x 17” and 10 pieces

Size:

Size: h:102 x w:102 inches

11” x 14” Fruits on bubbles, 2017

Medium: Mixed Media on Paper

Alex Gonzalez

Luis Mateo

Medium: premium archival matte paper

Size: 24” x 18”

Self Portrait, 2017

Size:

BoyDog Intro, 2017

Kathryn, 2017

Medium: Acrylic on canvas

Janet, 2016

Morning Heartbreak, 2016

Dejandolos atras, 2017

Medium: Acrylic on canvas

Medium: Pastel, ink, and cardboard

Medium: oil on canvas

Size: 4 ft x 4ft

Size: 5’ x 5’

pulp on cardboard

Size: 72 x 48 in Big Sister Intro, 2017

Cría cuervos y te sacarán los ojos, 2017

Medium: Digital Print on foam board

Medium: Oil on canvas

Size: 18”x24”

In Memory of… , 2016

Jessica Cuautle

Medium: Acrylic on canvas

Acrylic, pastel, and ink on cardboard

Fluid, 2016

Size: 4 ft x 4ft

Size: 5’ x 6’

Boy Dog, The Case, and Big Sister, 2016

Medium: Pastel on paper Javier Carrillo

Size: 18” x 24

Pal Jale, 2013

Medium: Acrlic on canvas

Medium: oil on metal

Breathe The Fire, 2017

Size: 48 x 48 in

Medium: Pastel on paper Size: 18” x 24

El Comerciante, 2017

Size: Dibujo Sin Igual / Unparalleled Sketch, 2017 Medium: Acrylic on canvas

Medium: oil on wood panel

Maria Galicia

Size: 36 x 24 in

Self Portrait, 2017

Size: 4 ft x 4ft

Medium: Linolium and Acrlylic on fabric

Boy Dog: 4 Pasos A Su Patio / 4 Steps Into

La dulcera de algodon, 2016

Size: 18x22

Her Backyard, 2017

Medium: oil on wood panel

Ave Extraña, 2017

Medium: Polymer Clay with flased paint

Size: 36 x 24 in

Medium: Etching

Size: sculpture 8” tall

Guillermo Perez

Medium: Colored Pencil on Paper

Rampart, 2017

Size: 24”x18” Victor Reyes Untitled (white background), 2017

Westlake, 2017

Medium: Yarn, Color Pencil, Bamboo on

Roberto Ortiz

Medium: Digital Print on foam board

handmade paper

Sola, 2017

Size: 18”x24”

Size: 44” x 31”

Jairo Perez

Untitled (Black background, 2017

Medium: Acrylic on canvas Size: 5x5 feet

Blue Skater Kid, 2017

Medium: color pencil, black gesso, yean and

Solo, 2017

Medium: Mixed Media on Paper

bamboo on paper

Medium: Acrylic on canvas

Size: 24” x 18”

Size: 42” x 31”

Size: 5x5 feet Sarah, 2017

Untitled (I’m a real boy), 2017

Juntos, 2017

Medium: Mixed Media on Paper

Medium: acrylic on paper

Medium: Acrylic on canvas

Size: 24” x 18”

Size: 44” x 30”

Size: 5x6 feet

Size: 10x 12

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Acknowledgments Untitled ( yellow background), 2017

Thank you to the USC Fisher Museum staff for all their help,

Medium: acrylic on canvas

warmth and support in putting this exhibit together .

Size: 30� x 40� Untitled (faces black background), 2017

Thank you to the Art Division artists for creating such a magnificent

Medium: acrylic paint and oil pastels on

exhibit

canvas Size:

Thank you to Selma Holo for her vision , for believing in us and giving the artists this incredible opportunity to exhibit at the USC

Jordan Vazcones & Milton Lazaro

Fisher Museum

Static, 2017 Medium: Experimental Short Film - Ten

Dan McCleary

minutes and 45 seconds Size:

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USC Fisher Museum of Art / Art Division: Artists in Residence  

"USC Fisher Museum of Art / Art Division: Artists in Residence" catalogue

USC Fisher Museum of Art / Art Division: Artists in Residence  

"USC Fisher Museum of Art / Art Division: Artists in Residence" catalogue

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