Exhibition Archive

2018

The Agency of Art

April 12 – May 17, 2018

Curated by Tatiana Sizonenko, Ph.D. ‘13

In the final exhibition, Visual Arts @ 50, our two-year long series marking the 50th Anniversary of the founding of the Visual Arts Department, turns its focus from the past to the future. The Agency of Art highlights the role of Visual Arts alumni from the past two decades who are shaping the way art engages with social practice, the environment, science and technology. British social anthropologist Alfred Gell held that “visual art objects are not a part of language … nor do they constitute an alternative language” and thus should not be treated simply as illustrations or visual texts. Instead he argued that they are tangible indices of social interactions that act as social agents. To conclude the Anniversary series of exhibitions, The Agency of Art spotlights how the Visual Arts Department is committed to using art to reshape the world in which we live.

Stories That We Tell: Art and Identity 

Jan. 18 – March 3, 2018

Curated by Tatiana Sizonenko, Ph.D. ‘13

Stories that We Tell: Art and Identity celebrates UC San Diego artists who paved the way for greater inclusion by inventing new means to address issues of race and gender. The seven internationally famous artists featured in the exhibition—Eleanor Antin, Barbara Kruger, Faith Ringgold, Martha Rosler, Miriam Schapiro, Lorna Simpson, and Carrie Mae Weems have been honored with major exhibitions at leading museums and recognized with prestigious awards. All were members of the Visual Arts Department, but this is the first time that they are exhibited on campus together.

2017

Provoking Change

Oct. 12 – Dec. 7, 2017

Curated by Tatiana Sizonenko, Ph.D. ‘13

Exploring a segment of the unique early history of the Visual Arts Department, Provoking Change celebrates an extraordinary roster of artists who came to study in San Diego in the early 1970s through the 1990s. Diverse in their approaches, these artists shared a desire to foster change by challenging the narrowly defined avant-garde canon as manifested in the formalism of the 1960s. In contrast to the influential American critic Clement Greenberg, who considered political art renegade and aesthetically inferior to the avant-garde, UC San Diego artists made art that introduced multi-cultural voices, pointed out women’s underrepresentation in the arts, and revealed the pressing histories of immigration, class, and racism. By broadening art-making practices through daring experimentation and engagement with the highly-contested political and social subjects of the day, these artists helped transform and expand contemporary art.

Making Communities: Art and the Border

March 3 – April 13, 2017

Curated by Tatiana Sizonenko, Ph.D. ‘13

For the artists of Making Communities, the border is not just a as a physical reality imposed on the landscape by political forces and entities, but also a subject for the imagination and a site for social engagement and problem-solving. The multimedia exhibition in the University Art Gallery and SME Visual Arts Gallery features twenty artists whose work critiques and reassesses the border and imagines a more interconnected and just world. Contemporary Latino and Chicano art is also featured in a smaller, complementary exhibition in the Cross-Cultural Center galleries.

2016

Extensions of Photography

Oct. 7 – Dec. 9, 2016

Curated by Tatiana Sizonenko, Ph.D. ‘13

Extensions of Photography highlights artistic practices by former and current UC San Diego-affiliated artists and alumni who redefined the photographic medium and contributed significantly to the cultural life of San Diego and the United States. The exhibition spotlights how these artists have employed photography in complex and layered ways to introduce themes of everyday life and reveal the pressing histories of gender, class, racism, and political resistance, while also experimenting with the medium.

2015

8 // MFA Graduate Exhibition 2015

June 4 – July 3, 2015

Curated by Vanessa Bateman + Julia Fernandez + Sara Solaimani, PhD students in Art History, Theory & Criticism, UCSD Department of Visual Arts.

The University Art Gallery at the University of California, San Diego presents 8 // MFA Graduate Exhibition 2015. This exhibition features artwork by eight graduating students from the Visual Arts MFA program at UC San Diego.

Artists: Bill Basquin, Artemisa Clark, Heidi Kayser, Andreas Leonardsen, Dominic Miller, Joshua Jon Miller, Julian Rogers, and Angela Washko.

ROUND but SQUARE: Undergraduate Exhibition 2015 

May 19 – 22, 2015

ROUND but SQUARE: Undergraduate Exhibition 2015 is hosted by the University Art Gallery from May 19–22, 2015. This exhibit serves to highlight the most ambitious works by emerging artists of UCSD’s undergraduate community. Curated by a panel of undergraduate art historians, this exhibition brings together works from the many departments here at UCSD: ICAM (Interdisciplinary Computing and the Arts Major), Media, and Studio, onto one architectural plane to encourage a thought provoking and stimulating conversation between peers.

Artistic Research: Visual Arts Faculty Exhibition 2015 

May 7 – 14, 2015

The University Art Gallery’s approaching 50th Anniversary provides an opportune time to look back on the gallery’s achievements. In many ways, a faculty exhibition provides the best framework through which to do so. The gallery’s exhibitions and programs have always emerged from the research interests of faculty in the Visual Arts Department, in concert with the students with whom they work and teach, and exhibitions of this work provide important touchstones in the consideration of its history. The role of the Gallery has been to present this research-based artwork in the context of the broader interdisciplinary environment that informs it. The conversations these exhibitions have engaged about the nature of art practice in the research environment of UC San Diego have had important repercussions in the changing culture of the campus and region, as well as in the larger arenas of cultural practice in the world beyond.

State Park

March 7 – May 1, 2015

A dynamic group of artists explore the concept of state parks as complex sites that exist, ostensibly, to preserve a location on account of its natural beauty, historic relevance, and recreational potential. State parks have also functioned as templates to examine how the U.S. thinks of, envisions, and exploits the outside. In many ways, state parks are neatly groomed physical manifestations of landscape paintings-rendered perfectly in greens and browns and providing an accessible, domesticated, and colonized wilderness. But, for many, they have unlocked a kind of egalitarian sublime and enabled understanding in the out-of-doors. This exhibition unpacks state parks as sites rich with conflict and complexities—where landscape, myth, identity, class, exclusivity, exploitation, wildness, tragedy, erasure, memory, leisure, spirit, holism, play, and adventure exert their individual and collective forces. The artists included in the exhibition turn over the show’s namesake so that we might see what they’ve seen, done, and remember, or discover who has been excluded and what’s been inadvertently missed.

 3015: Work in Progress 

Jan. 15 – 30, 2015

Marina Abramović in collaboration with Kim Stanley Robinson

The installation previewed a new work for the upcoming Venice Biennale. Sound recordings captured during the Abramović Method Workshop were featured.

The installation and workshop are produced by the UC San Diego Arthur C. Clarke Center for Human Imagination: Sheldon Brown, Director; David Kirsh, Associate Director; Laura Martin, Program Manager. Video Production: Nathan Wade, Lyndsay Bloom, Lucas Coffin, Stefani Byrd. Sound Design: Adam Tinkle and Wes Hawkins. University Art Gallery: Merete Kjaer, Jordan Crandall, Adam Rule, Arturo Hernandez, David Shere. Special Thanks to Lucille and Ron Neeley, Sheena Ghanbari, and the participants of the workshop.

2014

Elective Affinities: MFA Graduate Exhibition 2014

May 29 – June 27, 2014

Curated by PhD students Paloma Checa-Gismo and Noni Brynjolson, the 2014 MFA exhibition proposed that while there are numerous practices among the group of graduating students, there are still lines of thematic affinities between the works that reveal a shared set of concerns and approaches to art making. The exhibition featured the work of the following graduating MFA students: Danny Cannizzaro, Kate Clark, Gary Garay, Emily Grenader, Aldo Guerra Cota, Aitor Lajarin, Amber Lundy, Elmire Mohebali, Tomas Moreno, J Noland, Ava Porter, Matthew Savitsky, Hermione Spriggs, Nichole Speciale, and Walter Sutin.

My Strangest Stranger

March 13 – May 9, 2014

Artist Mary Walling Blackburn was invited by the gallery to continue her research into extraterrestrial encounters, seeking narratives produced to understand how we position ourselves in relationship to the Other, the alien, the stranger, the unknown. With past research and collecting of narratives in Turkey and France, Blackburn conducted a month long residency in San Diego to collect extraterrestrial encounter stories along the U.S./Mexico border. Blackburn produced a video from this work that was shown as part of the exhibition, along with videos documenting her previous research on the topic. From the stories she collected locally, she selected one that was told by a Mexican illegal border crosser of his alien encounter and from this story created a large-scale mural for the gallery that contained the elements of his story. Additionally, a mirrored reversed mural was created on an abandoned stretch of road outside Jacumba in the approximate area where the encounter originally took place. The gallery installation contained a low rumble sound element, an altered seismographic sound recording obtained from Scripps Institute specifically for the project, underscoring the central element of the mysterious and unknown. A publication, titled The Extra Earth Analog, co-edited by the artist as an A-Z compendium of reflections on the extraterrestrial or the stranger accompanied the exhibition. Copies of the publication were available for free to visitors in the gallery in a separate reading area with additional source materials on various topics of the artist’s research.

And how are we feeling today? 

Jan. 9 – Feb. 14, 2014

With the aim of inquiring into the economies of affect, structures of feeling, emotions as commodities, and the politics of care, And how are we feeling today?, was a group exhibition that featured video, performance, installation, sculptural, and sound works by artists Nina Canell, the Feminist Economics Department (the FED), Melanie Gilligan, Vishal Jugdeo, Reena Katz, Mierle Laderman Ukeles, Anna Sew Hoy, and Wages for Facebook.

2013

Timing is Everything

Oct. 3 – Dec. 6, 2013

Timing is Everything was an exhibition that explored how built space situates us in time, featuring nine video works by artist Joseph Redwood-Martinez that investigate the larger implications of postponed/incomplete construction projects witnessed in many countries around the globe. Four additional video works by artists Charles Miller, Hong-An Truong and Dwayne Dixon, Cauleen Smith, and Uriel Orlov, were each featured in two-week rotations in the gallery as large immersive projections. Each of these works dealt with various aspects of built space, their impact on humanity and the understanding of time and history these produce.

MFA 2013

May 28 – June 30, 2013

Curated by PhD students Melinda Guillen and Samara Kaplan, the 2013 MFA exhibition featured the work of fifteen graduating students: Jamilah Abdul-Sabur, Ela Boyd, Misael Diaz, Adrienne Garbini, Jesse Harding, Edward Kihn, Sam Kronick, Benjamin Lotan, Frankie Martin, Rebecca Monarrez, Nina Preisendorfer, Daniel Rehn, Emily Sevier, Allison Spence, and Josh Tonies.

We’d love your company

Feb. 21 – May 10, 2013

The first exhibition curated by UAG fellow, Michelle Hyun, in collaboration with New York artist Ethan Breckenridge, We’d love your company aimed to repurpose the gallery through an open programming invitation to the general public. Functioning as an essentially blank slate, the gallery was outfitted with basic architectural elements such as two raised platforms and movable scrims that visitors were invited to manipulate to reconfigure the environment. In addition, the public was invited to propose programmatic elements for presentation within the space during the run of the exhibition. In this way the exhibition sought to understand who the gallery’s publics are, while also investigating the concepts of hospitality and participation in light of an art gallery setting.

2012

Living as Form (The Nomadic Version)

Oct. 4 – Dec. 14, 2012

A traveling exhibition curated by Nato Thompson of Creative Time for Independent Curators International, consisting of a selection of socially engaged projects produced around the world in the past 20 years, 22 of which were shown at the UAG. In addition to the existing traveling projects, the UAG as a venue was asked to commission four new socially engaged projects to add to the exhibition and the archive for Living as Form as the exhibition continues to travel to other venues around the world. The four local community projects realized for the show were by Agitprop, Cog*nate Collective, The Periscope Project, and Torolab.

Heterotopia: UCSD MFA Thesis 2012 

May 31 – June 29, 2012

Curated by Ph.D. students Sascha Crasnow, Emily Elizabeth Goodman, and Elizabeth Miller, this year’s MFA exhibition picked up on the notion of a distinct heterotopic quality that describes the UCSD MFA program. Working in various artistic disciplines, mediums, and investigative practices the show featured work by the 2012 graduating MFA class: Joshua Aaron, Sadie Barnette, Mike Calway-Fagen, Alida Cervantes, Elizabeth Chaney, Christopher Kardambikis, Hyeyeon Kim, Stephanie Lie, Scott Lyne, Vanessa Roveto, Vabianna Santos, Jessica Sledge, Ash Eliza Smith, Xiao Ya, Joe Yorty, and Brian Zimmerman.

ANOMALIA

Feb. 16 – May 18, 2012

Curated by Lucía Sanromán, ANOMALIA explored contemporary art practices that use systems of visualization and quantification derived from the sciences, borrowing from its positivist methods of empirical analysis and date representation. Juxtaposing the clinical objectivity driven fields of science with the subjectivity of aesthetics and the speculative aspects of creation, the exhibition sought to uncover the disruption taking place in the seepage occurring between oppositional systems of knowledge.

2011

Arrhythmias of Counter-Production: Engaged Art in Argentina, 1995-2011

Oct. 6, 2011 – Jan. 20, 2012

Curated by Jennifer Flores Sternad, a leading scholar of political art in the Americas, the exhibition brought together art practices developed in Argentina dealing with social and political struggles. Often working as grass-roots artists collectives, the work presented in the exhibition evolved directly out of the political tensions that accompanied the Argentine economic crisis around 2001/2002. Springing from this place of authentic social and political motivation, the works in the exhibition directly interrogate the official state-generated representations of stability and progress.

Disperse: MFA Exhibition 2011

June 2 – July 1, 2011

Announcing the 2011 MFA exhibition featuring thirteen graduating candidates of UC San Diego’s acclaimed Masters of Fine Arts program in the Visual Arts.

The exhibition, organized by the University Art Gallery and co-curated by Lara Bullock, Rujeko Hockley, and Drew Snyder, showcases an extraordinary group of artists and peers who have worked in close proximity to one another over the last three years. The work on display shows the diversity of practice in the UCSD Visual Arts department, ranging in medium from sculpture and installation, to photography, drawing and painting, video, and performance.

The artists are: Micki Davis, Noah Doely, Rob Duarte, Anna Chiaretta Lavatelli, Ross Karre, Sheryl Oring, Brianna Rigg, Lesha Maria Rodriguez, Mike Toillion, Elle Mehrmand, Jerry Truong, David White, Suzanne Wright

March 31 – May 20, 2011

From the Press Release: LA JOLLA, CA–The UCSD University Art Gallery is pleased to announce the opening of a new exhibition by the internationally recognized photographer and installation artist Ken Gonzales-Day, running from April 1 – May 20, with an opening reception with the artist on March 31 from 5:30pm- 8:30pm. The show, Silent Witness: Recent Work by Ken Gonzales-Day, has been curated by Grant Kester, Elize Mazadiego and Jenn Moreno specifically for the University Art Gallery. It will feature selections from two recent projects by Gonzales-Day: California Hang Trees and Erased Lynchings. In the Erased Lynching series Gonzales-Day uses enlargements of postcards and photographs created to commemorate and publicize lynchings (these images became so pervasive that the U.S. Postal Service had to ban their circulation in 1908). Lynchings were often seen as festive occasions and a form of entertainment, especially in smaller rural communities, so these images frequently included enthusiastic crowds of on-lookers.

Gonzales-Day began working with this material following the controversy that surrounded the Without Sanctuary exhibition at the New York Historical Society in 2000, which featured a series of over two hundred lynching photographs and postcards. The re-presentation of this material raised a number of compelling questions for Gonzales-Day. How do you overcome historical amnesia surrounding America’s racist and violent past, without at the same time reigniting the voyeuristic fascination that accompanied the original circulation of these images? What is the pedagogy of suffering, and what lessons do these images carry with them today? Gonzales-Day approached these questions through a process of reversal in the Erased Lynching series, maintaining the surrounding scenes of leering, indifferent, or amused, crowds but subtracting the victim’s body. This spatial displacement was then carried forward through a process of temporal displacement in the California Hang Trees series. Here Gonzales-Day located a series of surviving lynch trees in the California countryside (or tress in close proximity to confirmed lynching sites) and produced large-format color landscape photographs of them. They are portraits, in a manner of speaking, that suggest the very real, physical, traces of California’s repressed past. Their location, from rural back-country to suburban office parks, can produce a jarring recognition of the violent history that lies just beneath the surface of an alternately banal or bucolic present.

We have had our own moments of jarring recognition here at UCSD in the past year, as students have happened upon Klan hoods and nooses in the Geisel Library, and the stairwell near the University Art Gallery. These incidents raise significant questions about the relationship between action and symbolic speech that have only become more pertinent with the passage of time. The noose, like the burning cross, is a promise, an incitement, and a reminder of both a deplorable past and the possibility of violence yet to come. Gonzales-Day reminds us that the act of witnessing is never innocent.

Gonzales-Day’s work has been featured in solo and group exhibitions at venues including the Palais de Tokyo in Paris, the Generali Foundation in Vienna, the Los Angeles County Museum of Art, El Museo del Barrio in New York City, and the Tamayo Art Center in Mexico City, among many others. Gonzales-Day has also conducted original research on the history of lynching in America. His groundbreaking book Lynching in the West: 1850-1935 (Duke University Press, 2006), has done much to complicate our historical understanding of lynching, exposing it’s widespread use as a form of domestic terrorism well beyond the southeastern United States (there were 354 recorded lynchings in California alone between 1850 and 1935), along with the high proportion of Latino lynching victims in the western U.S.

Archive Fever: A three part performance series

Jan. 21 – March 18, 2011

From the Press Release: The University Art Gallery began its exploration into the various world of performance art with the influence of Gallery Director, David Antin. From the ornate Fluxus/Big Book exhibition in 1969 to A Decade of Women’s Performance Art in 1982, Antin created a space for artists of the new genre to pave a path of creativity, body exploration, and artistic politics. Performance is an act of embodied transmission, a gesture that disappears from memory and persists in memory, a vital event and a resonant non-event, the in-between knowledge of “twice-behaved behavior”.

It is the core syndrome of the 21st century that cannot stop performing- the complexity of its etymological root parfournir, “to furnish forth”, “to complete”, or “carry out thoroughly” are now caught up with the post-contemporary signals of the all too artificial, with incomplete immaterialities or overly framed affective relationalities. Each of these echoes are at play in the diverse archive and repertoire of a performance art site, the University Art Gallery.

Archive Fever will encompass three arenas of the genre: poetry, performance, and dance. Through each section, Archive Fever calls upon contemporary artists within the Visual Arts Department, Dance and Theatre Department, and the local San Diego/Tijuana circuit to capture these moments of important University Art Gallery history with their own unique interpretation and trajectory. As an archived exhibition is presented, a response will be given by the working artist with an attribution of their current work taking the form of a performance, reading, or dance piece.

Similar concerns and expanded notions by these artists will become part of a larger investigation into the history of performance at the University Art Gallery. This multi-disciplinary event is curated by Ricardo Dominguez of the Visual Arts Department, Yolande Snaith of the Theatre & Dance Department, and Jennifer Moreno of the UAG and Visual Arts Department at the University of California San Diego.

2010

Deep Water Horizon

Oct. 1 – Nov. 27, 2010

From the Press Release: The UC San Diego University Art Gallery will host Deep Water Horizon, Hans Weigand’s second solo exhibition in the U.S. after his acclaimed debut at the Portland Landmark, Gallery. Deep Water Horizon is inspired by the fictitious and dystopian landscape of the California Coastline, on which the artist projects all sorts of ambivalent fall-out from the last 30 years of popular culture. Weigand will present eight large-scale multilayered canvases in an octagonal shape.

This fractured panoramic seascape is held together by a continuous, distant horizon, which is also a kind of dividing line between what’s on top of this huge wave and what has long been submerged. In this sense, Deep Water Horizon is not only in dialogue with the recent offshore catastrophe but also hints at the archival burden confronted in the age of digital mass memory.

Having worked with large-scale multimedia collages for the last two decades, Weigand has adopted a 3-step process for the production of his canvases. The backdrop of each panel on display is provided by painting, mostly abstract images of nocturnal and daytime “atmospheres” characterized by different light parameters. Printed on these backdrops are large, computer-generated montages of photographic elements, primarily of seascapes shot at various locations in California and Hawaii.

Another layer of these collage works engages with bizarre architectural and environmental details found in Las Vegas or in the hinterlands of U.S. vernacular culture. Above this tidal wave of trashy and flashy imagery, the lonely figure of the surfer, in large part modeled on the Comics character of the Silver Surfer, is enthroned in perfect isolation as if he or she were the last one standing amidst the catastrophic debris of a contemporary media storm. The third, and final, layer consists of another surface of hand-painted accentuations that act as smears across the hygienic aesthetics of digital production.

The exhibit also features two supplementary components to the fundamental eight panels presented in Deep Water Horizon. The first is a sequence of simple images that incorporates partly legible words that are set back-to-back with the canvases and positioned to welcome the viewers. Finally, there is an accompanying series of straightforward photographs, selected views of Americana that Weigand has collected in the course of his frequent visits to the U.S. over the past decade. Serious and profoundly humorous at the same time, this piecemeal accumulation of a panoramic counter-spectacle takes on the notion of a “deep water horizon”-embedded somewhere in the depths of our personal archives.

On October 3 and 4 Hans Weigand will screen his film COTTON 2001/2010 in Los Angeles and La Jolla. Juli Carson will follow the screenings with a discussion about Weigand’s work. October 3, 7:00pm: Mandrake, Los Angeles; October 4, 6pm: UC San Diego Visual Arts Facility Performing Space, La Jolla.

MFA 2010

June 4 – July 2, 2010

Shane Anderson, Rich Bott, Crystal Z. Campbell, Lili Chin, Ted Chung,

Leigh Cole, Monica Duncan, Chris Head, Glenna Jennings, Merve Kayan, Vincent Manganello, Dolissa Medina, Charles G. Miller, Jesse Mockrin, Zac Monday, Louis Schmidt, Tim Schwartz, Rachel Thompson, Claire Zitzow

The Department of Visual Arts at the University of California, San Diego announces its 2010 graduate MFA exhibition featuring work by nineteen graduating artists. The work on display is a culmination of a rigorous three-year studio practice and ranges from performance art and installation to painting, photography and sculpture.

Interested in how land is viewed and utilized, Shane Anderson allows the viewer to shape the landscape with his portable one-person camera obscura. Rich Bott combines personal messages typed on vintage telegrams with large prints of generic scenes of suburban life – on which he draws with charcoal – that are humorous critiques of middle class consumerism. Crystal Z. Campbell’s installation is part of a series of works that investigate the ambiguity of ritual and uses fantasy to rupture the space between a celebration and an act of violence.

Working with a professional dancer, Lili Chin’s video piece explores the framed psychological space of the subject through movement, lights and music. Ted Chung’s site-specific cardboard tables respond to the work of his fellow graduates and play with notions of portraiture, color, time and space. Wanting to create work conceptualized entirely in fantasy, Leigh Cole reproduces a Michelangelo’s David using marshmallows and plays on our sense of reverence and commerce.

Monica Duncan’s video is derived from her experiences in Community Emergency Response Team training where she became interested in the parallels between training and rehearsal, improvisation within a limited duration, maneuvering through complexities of scale and makeshift rescue objects. Chris Head’s work, heavily involved in established and emerging technology, focuses on the intersection of software design, games, and art practice. Glenna Jennings’ work relates directly and tangentially to cheerleaders, guns, bearded men, working class spas, the subtle intricacies of identity and the shifting definitions of Space and Place.

Filmed in a small Turkish coastal town on the Aegean Sea, Merve Kayan’s film aims to document the season in which life takes a break from the rest of the year and transforms itself into something different, in some other place, yet remaining intact with its own set of rituals. Vincent Manganello’s colorful large format paintings pull from sources such as fashion, decorative arts and design to create seductive images that are both unstable and overwhelming. Dolissa Medina combines found footage to create a film/“docu-legend” about the life and death of the Tejano music singer Selena Quintanilla and her impact on the music industry for future Latino singers. Charles Miller operates as an artist/researcher leveraging aesthetic practice as a means for evaluating, measuring, and critiquing the illogical operations within our lived urban historiography.

Jesse Mockrin paints figures floating in space against a photographic backdrop folding references to French Neoclassical paintings with contemporary kitch. Combining crocheted masks and hands with drawings of royal subjects, Zac Monday’s installation builds on his interest in exploring rituals and the forced interactions that challenge our comfort level and expose our emotional sensibilities. Louis Schmidt’s drawings are part of an ongoing critique of personal and societal unhappiness.

Based on the music archived on his ipod, Tim Schwartz’s created a card catalog file that lists all 7,390 songs from most recent onwards. Rachel Thompson’s feature-length film essay follows a quixotic search for the material traces of Java’s colonial, mystical, and paleontological past; A journey that shuttles between Amsterdam, London, Jakarta, and the District of Columbia.

Based on the 2009 Angeles National Forest fire, Claire Zitzow combines backlight photos of the burned mountainside with a 16mm film documenting the burning of paper she made from charged yucca fiber and ash to the nature of irreparable changes in our environment and our perceptions of those changes.

Transurbaniac: Art emotions and some city trances

April 9 – May 15, 2010

Eduardo Abaroa, Georgina Bringas, Abraham Cruzvillegas, José Dávila, Roberto de la Torre, Pedro Friedeberg, Rubén Gutiérrez, Jerónimo Hagerman, Enrique Jezik, Gabriel Kuri, Gonzalo Lebrija, Ilán Lieberman, Enrique Metinides, David Miranda, Antonio O’Connell, Edgar Orlaineta, Ricardo Rendón, Jorge Reyes, Tercerunquinto, Pablo Vargas Lugo

Things are not static. As we know from research in quantum physics, the closest landscape is a non-stop experience surrounded by contradictory aspects of surrounding objects that can be treacherous and out of control. Emerging from this awareness is the next exhibition at the University Art Gallery entitled Transurbaniac.

The exhibition, curated by Guillermo Santamarina, Chief Curator at the Museum of Contemporary Art  (MuAC) at the National Autonomous University of Mexico brings together a number of important works from the museum’s permanent collection along with additional work selected by the UCSD University Art Gallery with the intention of linking the concerns of artists working in Mexico and the United States around issues of urban space and the university campus.

By using multi-dimensional approach, the exhibition recognizes the long tradition of Mexican creativity that is in the same critical discourse as surrealist artists. From pulling transgression notes into urban commodities or supporting questions about mental stability to materializing legitimate fear in based on historical and urban dysfunctions Transurbaniac aims to create a incontrovertible melodrama set in middle-class scenarios of the 21st century. From the large site specific installation of José Dávila to David Miranda’s flyer titled Legal Trades, the exhibition takes as its focus the specific circumstances of contemporary art in Mexico and raises questions that are relevant for artists working in urban contexts everywhere today.

The Museo Universitario Arte Contemporáneo (Contemporary Art University Museum) is the largest public institution in Mexico to accommodate a collection of national and international contemporary art. Aiming to promote learning and esthetic enjoyment, its contents, architecture and interpretation tools offer the public the possibility of creating their own personal tour: college students, art experts, children, young adults and visitors in general, each build and enjoy their visit as a unique experience. Located in the Cultural Center of the National Autonomous University of Mexico (UNAM), the MuAC is the first museum fully created, in its architecture, management, museology, and interpretation, for contemporary art.

Feb. 4 – March 20, 2010

Over the last few years Bay Area video artist lauren woods has consistently returned to the subject of Africa, creating numerous pieces that vividly document her cultural investigations. This still growing body of work, entitled The AFRICA Archives, includes videos, still photographs and mixed-media works. M(other)land, on view at the University Art Gallery, UCSD, offers a glimpse into The AFRICA Archives and provides a space for viewers to sift through their own projections about a continent still primarily glimpsed through the veil of social crisis, Hollywood movies and television news.

This exhibition, curated by Los Angeles-based independent curator Lisa Henry for the University Art Gallery, marks the first time works from The AFRICA Archives have been shown together. The show focuses on the artist’s long held interest in American perspectives on Africa as they relate to identity and cultural power. woods’ project is open ended, grand in scale and often humorous as she re-edits popular films, music videos and her own footage creating a suite of works about the conundrum of Africa as the assumed homeland for generations of Americans who have never and will never travel there.

Four major works from The AFRICA Archives will be on view at the University Art Gallery. These arresting video installations integrate woods’ own original video work with 20th century popular film, re-edited and re-mixed according to her own journey of inquiry. In …all over… (After the Crucifixion (After P. Pfeiffer (After F. Bacon))), the artist probes the intersection of contemporary African identity and American rap by employing Ludacris’ 2005 video “Pimping all of the World” (purported to be the first mainstream American Hip Hop video to be shot in Africa), creating a dizzying hybrid of cultural signifiers in the gallery. In the five monitor video installation A Portrait of the African Shore, as well as in Inkblot Projective Test #1 (Darkest Africa 1936/2006) and i dream of Africa… woods questions both the stereotypes and idealized projections of the African landscape, its people and their culture.

For woods, “Africa is at once a question, a collection of political difficulties, a set of cinematic conventions and a site for the projection of racial and cultural identities by the West.” woods’ goal is not to create a definitive statement. As she says “I do not plan on answering any of these questions… or resolving my feelings about my perpetual journey in understanding the relationship between diasporic descendants of Africans and this place called the “motherland” but I have to acknowledge that this whole mania is more complex than it appears.” These works both reflect and question the quintessentially American impulse to draw on fiction and myth to make sense of individual identity in a fragmented world.

lauren woods is a conceptual artist based in the Bay Area. She received her MFA from the San Francisco Art Institute in 2006. Her video work has been widely exhibited throughout the U.S. Her multidisciplinary approach often combines video, sound, installation and photography to examine popular culture, race and socio-politics. Currently woods is a Tribeca Film Institute Media Arts Fellow and is in residence at CentralTrak: The University of Texas-Dallas Artist Residency.

Her video work has been widely exhibited throughout the U.S., including the traveling exhibition Posing Beauty, curated by Deborah Willis, as well as Letters from the Left Coast…, Studio Museum in Harlem, NYC (2009) Cinema Remixed and Reloaded: Black Women Artists and the Moving Image Since 1970 at The Contemporary Arts Museum-Houston, Houston, TX (2008), The California Biennial, Orange County Museum of Art, CA (2008), Ethno-fictives, Swarm Gallery, Oakland, CA (2006).

Lisa Henry is an independent curator based in Los Angeles. She curated Americans and Off The Grid: Photographs by Keliy Anderson Staley at the California Museum of Photography as well as Connections (2009) at Jenkins Johnson Gallery, New York, and the traveling exhibition Young Americans: Photographs by Sheila Pree Bright. Past exhibitions include The Grapes of Wrath: Horace Bristol’s California Photographs, J. Paul Getty Museum and I’m Thinking of a Place at the Hammer Museum, Los Angeles. She has contributed essays to various exhibition catalogs and is a columnist for the online photography sites of En Foco and Dodge & Burn.

2009

Off The Beaten Path: Violence, Women and Art

Oct. 23 – Dec. 12, 2009

Amnesty International, Laylah Ali, Maimuna Feroze-Nana, Mona Hatoum, Icelandic Love Corporation, Yoko Inoue, International Rescue Committee, Jung JungYeob, Amal Kenawy, Lisa Bjørne Linnert, Hung Liu, Gabriela Morawetz, Miri Nishri, Yoko Ono, Cecilia Paredes, Susan Plum, Cima Rahmankhah, Joyce J. Scott, Jaune Quick-to-See Smith, Masami Teroka, Hank Willis Thomas

For the new exhibition season the University Art Gallery, UC San Diego presents an international exhibition entitled Off The Beaten Path: Violence, Women and Art. The exhibition brings together artists from around the world to explore the global ramifications of gender-based violence. The exhibition, curated by Randy Jayne Rosenberg executive director of Art Works For Change, features twenty-one artists from nineteen countries. “Throughout the world, women and girls are victims of countless and senseless acts of violence. The range of gender-based violence is devastating, occurring, quite literally, from womb to tomb,” explains Randy Jayne Rosenberg. “The stories that underlie these artworks return us imaginatively to the event of violation and allow it to affect us.” Premised on the visionary potential in art, the exhibition avoids tabloid and sensational imagery. The invited artists were asked, “To help us create new representations through their artworks and, in doing so, help us feel and understand the essence of the problem of violence against women,” says Rosenberg.

The exhibition hopes to help create a new conversation on this important topic. The exhibition explores multiple aspects of violence against women and girls organized within several thematic categories: Violence and the Individual; Violence and the Family; Violence and the Community; Violence and Culture; Violence and Politics. The organizers hope the audience leaves the exhibition with a better understanding of the roots of abuse, a feeling of empathy, and an awareness of choice in their actions and beliefs. These problems, though widespread, are often invisible, says Rosenberg. “When we encounter violence against women, we often overlook the facts and experience a sort of blindness. We choose not to see the devastation of domestic violence, calling it ‘a family affair’. Honor-killings of women in faraway regions of the world become nothing more than a ‘cultural difference’. We find it hard to believe that sex trafficking and exploitation occur in our cities, close to home. The rape and torture of women during armed conflict is the inevitable ‘messiness of war’. As such, the political and systemic sources of violence are often underestimated or overlooked.”

The University Art Gallery is partnering with 5 Women Who Care, Amnesty International, Casa Cornelia Law Center, Center for Community Solutions San Diego, Coalition to Abolish Slavery and Trafficking, End Violence Against Women International, License to Freedom, Survivors of Torture, The Voices and Faces Project, United 4 Iran and Women’s Resource Center as well as departments and programs on campus in order to create an extensive calendar of programming. Please check the Talks and Events section of the website for upcoming events.

MFA 2009

May 29 – June 28, 2009

Robert Becraft, Susannah Bielak, Micha Cárdenas, Matthew Coors, James Enos, Kael Greco, Nico Herbst, Esteban Martinez, Gretchen Mercedes, Clare Parry, Omar Pimienta, Yvonne Venegas, Julia Westerbeke

The University Art Gallery is delighted to present its annual exhibition of work by the completing class 2009-2010 of Masters of Visual Arts students, from the Department of Visual Arts, at the University of California, San Diego. The exhibition of these thirteen emerging artists reflects the culmination of their time spent at UCSD and ranges from painting and sculpture to video, photography and installation.

Robert Becraft assembles films from distressed images and footage of made objects and tableaux that look back to a time of stylized experimentation. Susannah Bielak’s fascination with earthquakes and their effects are represented through text, documentation, staged simulations and carving images into domestic tabletops traversing the territory between human and geographic disaster. Micha Cárdenas’ recent 365 hour performance “Becoming Dragon” immersed her in the online 3D environment of Second Life through which she explored issues of transgender and identity. Matthew Coors’ composite photographs focus on elements of disquiet in our urban environment. Combining wildlife with architecture his images tap into our fears of the unknown.

James Enos maps and animates the confluence of landscapes in sculptural and pictorial form. His three dimensional collages intertwine a range of different architectural forms with modes of transportation, tracts of greenery and the products of an industrialized society. Kael Greco celebrates the video gaming experience with colorful explosive videos that collapses the experience of a multitude of play scenarios into a single screen. Nico Herbst multi-screen video installations mix together created incidences and casual footage to create a space for sensual surrender. Esteban Martinez’s fake cactus and ice cream cart proposes an alternative form of watching to the sanctioned U.S. surveillance of the San Diego/Tijuana border. Gretchen Mercedes video diptych unites contemporary footage of a helicopter approaching a boat out at sea and found Super 8 footage of an unknown island, thus allowing two different periods to come together.

Clare Parry paints onto the surface of found wallpapers, proposing them as carrier of memory, a screen for reflection and site for the investigation of the possibilities of painting. Omar Pimienta fuses together American and Mexican culture in films and sculptural form that both speaks to its origins while proposing the possibility of something new that exists between the imagination and the image.

Yvonne Venegas’ latest photographic series focuses on a powerful Tijuana family and the world they have created. Their framing speaks of the tenuousness of her relationship to them as well as her ability to move within and negotiate that space.

Julia Westerbeke’s twisting organic shapes that make up her creeping and sprawling installations are created through the manipulation of decidedly inorganic materials. Graphically present in black and white they propose a new form and order of beauty.

Jan. 29 – March 15, 2009

Mark Dean Veca is renowned for creating paintings, drawings and installations that portray surreal cartoons, psychedelic landscapes, and pop culture iconography while also being inspired by long-established decorative motifs. He is widely recognized for his all-encompassing installations that surround the viewer and inspire a sense of awe. Revealing fantastical and, at times, humorous imagery with frenzy and pattern-like precision, his works often resemble a modernized interpretation of toile painting. In the 1998 catalogue for Veca’s El Gloominator exhibition, Steve Mitchell asserts that “Veca works in the meticulous tradition of the fresco painter to produce an image that paradoxically evokes the immediacy of the graffiti artist.”

This solo exhibition will for the first time present a comprehensive overview of his practice, including two new wall paintings, one inside the gallery and one outside, documentation and studies for previously realized projects, paintings on a variety of surfaces and works that he has made with companies such as: Ford Motors, Nike, Burton Snowboards; editions he has produced in collaboration with museums; and works made with other artists such as the New York artist and designer KAWS.

Marc Dean Veca was born in Shreveport, Louisiana in 1963. He received his Bachelor of Fine Arts from Otis College of Art and Design in 1985. He currently lives and works in Los Angeles.

Mark Dean Veca’s work has been exhibited throughout the United States, Europe, and Japan at institutions such as The Aldrich Museum of Contemporary Art, PS 1 Contemporary Art Center, The Brooklyn Museum of Art, The Bronx Museum of the Arts, and Yerba Buena Center for the Arts. Veca’s work has been reviewed in numerous publications including The New York Times, Artforum, Art in America, Art Review, Juxtapoz, and Flash Art. Amongst his many honors, Veca has twice received the New York Foundation for the Arts Fellowship and was awarded a Pollock-Krasner Foundation Grant in 2006. Veca’s recent solo exhibitions include Imbroglio (2007) at the Jonathan LeVine Gallery.

2008

Fear Minus One

Nov. 14, 2008 – Jan. 11, 2009

Spencer Finch, Graham Gussin, Gabriel Lester, Takeshi Murata, and Christian Tomaszewski

Fear Minus One focuses on five artists who use preexisting films as their source, particularly in this selection, movies that have a sense of foreboding or fear as part of their dynamic. Through their interaction with the original its form is changed, be it as the result of translation, transcription, editing or recreation, but remains strongly referenced in the final piece. Collectively these five individual works transform the gallery into a site for the imagination, where the relationship between narrative and image can be examined and the creation of illusion explored.

Spencer Finch’s West (Sunset in my motel room, Monument Valley, February 26, 2007, 5:36 – 6:06 pm) uses the light from nine video monitors, which display a changing selection of stills from John Ford’s 1956 epic and violent Western The Searchers. The gallery bathed in this reflected light is transformed from day to night exactly mimicking, over a 30-minute period, the color and intensity of the fading twilight. Graham Gussin’s Dark Light Piece, Night of the Living Dead (Luminosity Wave Form) uses the entire film, Night of the Living Dead (1968), as seen through a light-measuring screen used on edit suites. This translation turns the images into a kind of ectoplasmic landscape, through which the movement of the camera and barely recognizable figures become enhanced yet are abstracted. Gabriel Lester similarly reworks Francis Ford Coppola’s The Conversation (1974) in the form of a computer controlled light installation. 50 individual lights bathe an open sided room in a range of colors and hues that evoke the moods and scenes of the film as its soundtrack plays in its entirety. Takeshi Murata twists and stretches sequences of the classic Italian horror movie Black Sunday (1960) using a technique he calls “VideoSlime.” Each frame is digitally rendered sifting black and white images through graduations of abstraction in fluid motion while hyping up the menace redolent through out the film. Christian Tomaszewski has previously reconstructed parts of David Lynch’s Blue Velvet (1986) in real space: exploring the ability of architectural fragments to convey dramatic narrative. Through his installations he superimposes two different structures, the one belonging to the film and the one of the architecture, which together become a third reality. For Fear Minus One he turns his attention to Giulio Berruti’s Killer Nun (1978).

Spencer Finch was born in New Haven, Connecticut in 1962, and lives and works in Brooklyn. He has had solo exhibitions at: MASS Moca; ArtPace, San Antonio; Portikus, Frankfurt am Main, Germany, and the Wadsworth Atheneum, Hartford. Graham Gussin was born in London in 1960 where he lives and works. He has had solo shows at: Ikon Gallery, Birmingham; Centre d’Art Santa Mònica, Barcelona; Galerie Chantal Crousel, Paris; New Museum of Contemporary Art, New York; and Tate Britain London. Gabriel Lester was born in Amsterdam in 1972 where he lives and works. He has had solo exhibitions at: SMBA, Amsterdam; Bloomberg Space, London; Boniers Konsthal, Stockholm; Glucksman Gallery, Cork; and Gallery Fons Welters, Amsterdam. Takeshi Murata was born in Chicago in 1974 and lives and works in New York. He has had solo exhibitions at: Layr Wuestenhagen Contemporary, Vienna; Ratio 3, San Francisco, CA; Gallery Sora, Tokyo, Japan; Hirshhorn Museum and Sculpture Garden, Washington DC; The Kitchen, New York, and The Reliance, London. Christian Tomaszewski was born in Gdansk, Poland in 1971, and lives and works in New York. His work has been exhibited at: Centre for Contemporary Art Ujazdowski Castle, Warsaw; the First Bienniale of Polish Art, Lodz; the Bronx Museum of Art, New York; Fondazione Querini Stampalia, Venice; Skulpturenmuseum Glaskasten, Mar; and Kunstsammlungen Chemnitz.

July 25 – Oct. 12, 2008

Shaun Gladwell is one of Australia’s most prominent younger artists. The exhibition features a number of major works never before shown in the United States, including works from his latest ongoing series Maddest Maximus.

Gladwell’s practice critically engages personal experience as well as wider speculation upon art history and the dynamics of contemporary culture. This range of interest and sources is explored through a variety of mediums, but in recent years most particularly video installation. His recent projects in video have made discursive links between historical models and understanding of the body in space such as the flâneur and contemporary cultural figures such as the skateboarder, the motocross rider, the freestyle BMX rider, the graffiti artist and other physical and street performers. The work generally deals with performative figures in space, disrupting the social and architectural programming of urban spaces in particular. As this ongoing investigation of spatial articulation has deepened and gathered momentum it has begun to more closely inform and be reflected in the installation structures of the work itself, with an increased experimentation with multi-channel formats and architectural features as projection surfaces.

Gladwell’s work also experiments with certain traditional or established representational genres and concepts. For example, the genre of the romantic landscape and its association with traditional concepts such as the sublime is handed over to – or co-opted by – contemporary practices such as skateboarding or break dancing. However, his practice does not attempt to either simply update or recuperate traditional models. On the contrary, the traditional model and current cultural practice cross-infect each other, nor is the continued use of ‘street’ or ‘subcultural’ activity directly claimed within the category of ‘art’. Rather, the popular projections of such cultural activity are both destabilized and transformed. The fast and furious MTV jump-cut editing of these popular representations are resisted through the use of slow motion and ambient soundscapes. The results are poetic, hypnotic and meditative representations that open the represented activities themselves to a wide range of readings not immediately associated with either their sources or my apparent subject matter.

Shaun Gladwell was born in 1972, Sydney, Australia. His work has been exhibited in major national and international exhibitions including: Yokohama 2005 Triennale of Contemporary Art; First We Take Museums, KIASMA, Finland; and Space Invaders, Museum Kunsthaus Baselland, Switzerland. He was represented in the 2006 Biennales in Busan (South Korea), Sao Paulo (Brazil), 2007 Venice Biennale, 2008 Sydney Biennale and Taipei Biennial.

In 2009 he will represent Australia in the Venice Biennale with a solo exhibition in the Australian pavilion.

June 6 – July 6, 2008

Seth Augustine, Kate Barclay, Cathy de la Cruz, Deanna Erdmann, Kate Hoffman, Scott Horsley, Sara Hunsucker, Derek Lomas, Jennifer Medlin, Elyse Montague, Adam Moyer, Owen Mundy, Kelly Pendergrast, Iana Quesnell, Katherine Sweetman, Nina Waisman, Kate Wall, Felipe Zuñiga

The University Art Gallery is delighted to present its annual exhibition of work by the graduating Masters of Fine Art students from the Department of Visual Arts at the University of California, San Diego. The work of these eighteen emerging artists ranges from interactive media, sculpture, film/video, photography to installation and reflects the culmination of their time spent at UCSD.

Adriene Jenik, MFA graduate program faculty advisor said:

“As a whole, the work of our recent Masters in Fine Art graduates reflects the impulses, obsessions and networks of exchange at play in contemporary art today. The work also reflects the overarching commitment within the Visual Arts Department to fostering art making and art discourse in a truly inter-media environment. At University of California San Diego, it is understood that art emerges from an often messy tangle of ideas, material engagement, intellectual research, and conversation.”

March 28 – May 17, 2008

Selected works from the collection of Isabelle and Jean-Conrad Lemaître.

Jennifer Allora & Guillermo Calzadilla, Fikret Atay, Yto Barrada, Yeal Bartana,

Johanna Billing, Ulla von Brandenburg, Dominique Gonzalez Foerster, Emily Jacir, Hassan Khan, Sigalit Landau, Nikolaj Bendix Skyum Larsen, Steve McQueen, João Onofre, de Rijke/de Rooij, Bojan Šarčević, Zined Sedira, Mariana Vassileva, and Mark Wallinger

The University Art Gallery at University of California, San Diego, is delighted to present a selection of 18 video works from the collection of Isabelle and Jean-Conrad Lemaître. For the last seven years these London based French collectors have been collecting almost exclusively video work. The collection includes artists from all over the world and at the latest count numbers 80 works. This selection includes work by artists originating from Cuba, Denmark, Egypt, France, Germany, Israel, The Netherlands, Palestine, Portugal, Serbia, Sweden, Turkey, United Kingdom, and United States.

Focusing primarily on younger artists the collection demonstrates many approaches to making film and video from the use of a simple gesture or intervention, the documentation of people and events, to the staged and performative. This, in turn, reflects many of the themes and concerns of today, the way social and political change is manifested and reflected in everyday life, a fascination with the negotiation of boundaries both physical and metaphoric, and a reflection of the kaleidoscopic nature of human beings, their emotions, and their lives. Collectively, they announce the arrival of a new generation of internationally recognized video artists who choose to occupy the gallery space yet talk of the world outside it.

Revolutions will occupy six especially created rooms, which will house both projected works and pieces shown on monitor. Each work, ranging from 80 seconds to 30 minutes in length, will be shown sequentially creating a complete cycle lasting almost three hours, and require the visitor to complete three rotations of the gallery.

Jan. 19 – March 8, 2008

Jesus Aguilar, Ricci Albenda, Fiona Banner, Peter Davies, Tami Demaree, Graham Gillmore, Danielle Gustafson-Sundell, Emma Kay, Justin Lieberman, João Louro, Ján Mancuška, T. Kelly Mason, Dominic McGill, Aaron Parazette, Fernando Pintado, Monique Prieto, Maya Schindler, Bob & Roberta Smith, Mark Titchner and Cerith Wyn Evans.

The University Art Gallery at the University of California, San Diego is delighted to announce the reopening of it’s gallery space after a period of extensive renovation with the first exhibition in a year round program under the curatorial directorship of Stephen Hepworth who has recently relocated from London where he was the associate curator at Bloomberg Space.

The opening exhibition In the Beginning takes its cue from the strong involvement West-coast artists have had with text, particularly during the 1960s and 1970s, and looks at a newer international generation of artists whose practice focuses as much on appearance and form as much as what the words say.

In the Beginning features the work of 20 artists from Europe and America in a range of media including painting, sculpture and video. Collectively they reflect a cross section of contemporary approaches and subjects. For Peter Davies, Monique Prieto and Aaron Parazette words and phrases become the very thing they paint, while Cerith Wyn Evans and Maya Schindler use words and text as sculptural form that is both a representation and a physical manifestation of itself. Jesus Aguilar and Fiona Banner both compress and expand our experience of time, while Rici Albenda distorts text in order to propose new perspectives. Graham Gillmore and Emma Kay employ the layering and interconnectivity of text to evoke ideas and memories where as Justin Lieberman and Dominic McGill are concerned with its use as a tool to investigate and reveal contemporary society, politics and culture. João Louro, T. Kelly Mason, and Ján Mancuška engage with the possibility of narrative, while Bob & Roberta Smith, Danielle Gustafson-Sundell and Mark Titchner offer stories, musings and slogans, and Fernando Pintado and Tami Demaree both represent and question language as an authentic carrier of expression.

2007

MFA07 @ The Egyptian

Nov. 10 – 18, 2007

Veronika Bauer, Carl Burton, Raúl Cárdenas Osuna, J. Tanner Cusick, Sergio de la Torre, Evelyn Donnelly, Julia Dzwonkoski, Jocelyn Jacobs, Emiko Lewis-Sanchez, Sharon Levy, Patrick Miller, Patricia Montoya, Steven Rubin, Tristan Shone, Robert Twomey, Caleb Waldorf

The University Art Gallery at University of California San Diego is delighted to announce an exhibition that showcases the work of 16 graduating students from its Masters of Fine Art program.

“In a sense this show has been a long time coming. It represents the culmination of at least three years study. A collective public outing of artists who have become each other’s peers. Relationships between the works are tenuous, fragile links artificially forged through proximity. While no trends are discernable, the force of individual visions burns strongly.”

Stephen Hepworth, Curator UAG

“Trees that take possession of the indoors, moving images that transport us, via the maquiladoras and rooftops of Tijuana to the desert, to outerspace. A symphony of bicycle bells, mysterious machines and more mysterious drawings. It is with great pleasure that I have watched the work in this show unfurl, and it is exiting now to see the work installed, to see it with new eyes, to witness a conversation as the art works speak to one another.”

Lesley Stern, Chair, Department of Visual Arts, UCSD

The Elephant vs. The Termite MFA 2006

April 7 – 27, 2006

Alan Calpe, Shashana Jaffee Chittle, Joelle Dietrick, Andrew Estep, Timothy Jaeger, Zerek Kempf, Justin Michell, Jorge Nava, Michael Podolak, Edward Porter, Stephen Remington, Annina Rust, Davina Semo, Shannon Spanhake, Joe Winter

The Elephant vs. The Termite  features the works of fifteen graduating Master of Fine Arts students from UCSD’s Visual Arts Department. The exhibition reveals the blend of traditional art practices and new technologies, while simultaneously highlighting the diversity of the artistic practice and expression of the artists. The graduate programs at UCSD emphasize cross-departmental collaboration leading to new avenues of critical thought, artistic development, and technological innovation. Among the selection of drawing, painting, sculpture, installation, video and digital media included in the exhibition, viewers will find active dialogues throughout a variety of disciplines which challenge contemporary notions of space, perception and process.

The Elephant vs. The Termite is dedicated to Professor Emeritus Manny Farber, in recognition of his important contributions to the UCSD Visual Arts Department. Farber has been a major contributor to American cultural discourse for more than 50 years, both as a film critic and as a painter. The exhibition is titled in honor of Farber’s influential essay on commercial cinema wherein he champions B-film and underappreciated directors for their termite-like ability to burrow into a topic (as compared to their bloated, pretentious and “white-elephant art” counterparts). Currently a professor emeritus, he was an active faculty member in the UCSD Visual Arts Department from 1970 to 1987.

The exhibition is curated by Rita Gonzalez, an assistant curator in the Center of Art of the Americas at Los Angeles County Museum of Art; Kathleen Stoughton, Director of the University Art Gallery, UCSD; and Professors Louis Hock and Ernest Silva of the UCSD Visual Arts Department.

Gallery Director: Kathleen Stoughton

Jan. 13 – March 25, 2006

From lithographs to examples of electronic civil disobedience, the diverse works of seven new University of California, San Diego Department of Visual Arts faculty members is currently featured in the University Art Gallery, UCSD.

New Visual Arts Faculty 2006 includes work by artist/photographer Amy Adler, media theorist Jordan Crandall, architect Teddy Cruz, “father of hacktivism” Ricardo Dominguez, techno-artist Natalie Jeremijenko and new-media/environmental artist Brett Stalbaum.

The show reflects the interdisciplinary focus central to both the UCSD Visual Arts Department and the gallery. The exhibited works demonstrate a research orientation and level of innovation and risk-taking that is highly valued by the university community. These faculty members are forging new paths in art-making and simultaneously enriching their students by example, encouraging them to also reach across media-specific boundaries.

Gallery Stoughton: Kathleen Stoughton

2005

Oct. 7 – Dec. 10, 2005

In today’s art world, the collaboration of artists and the blending of various media is a common occurrence. In the early years of the second half of the 20th century, artists William Anastasi, Dove Bradshaw, John Cage, and Merce Cunningham broke boundaries and embarked on artistic adventures in dance, music and the visual arts. Their explorations brought new perspectives to their own work, and continue to influence artists today.

Anastasi | Bradshaw | Cage | Cunningham focuses on the cross-pollination of ideas among Anastasi, Bradshaw, Cage and Cunningham during their years of friendship and professional collaboration The exhibit consists of 77 works spanning from 1950 to 2004, including video, sound, objects, sculpture, installation, drawing, painting, prints, artists’ books and photography.

During the early eighties Cage served as musical advisor and Anastasi and Bradshaw were appointed artistic advisers to the Merce Cunningham Dance Company. Each artist formulated a fascinating personal method of working with chance in their artistic creations.”

This exhibition was organized by Marianne Bech and Dove Bradshaw.

Gallery Director: Kathleen Stoughton

May 13 – Aug. 12, 2005

Since the mid-eighties, there has been a growing interest in contemporary Chinese art in the West. After the death of Mao Zedong in 1976, decades of isolationism and strict cultural restrictions that greatly influenced the production and exhibition of art gave way to a period of remarkable and fast-paced development. This new work, these unfamiliar artists, this recent ‘opening up’ of a nation with over twenty percent of the world’s population has become of increasing interest internationally.

Regeneration focuses on the work of twenty-six artists who reside in Beijing, Shanghai, Guangzhou, New York and Pennsylvania. While the work in this large survey is diverse and wide-ranging, the artists share some thematic concerns. Some employ or appropriate traditional Chinese art forms in new ways. Others investigate the significant recent social and cultural transformations occurring in China. All of the work represents the vital and rapid regeneration of contemporary life and culture in China.

Regeneration includes some of the most exciting contemporary Chinese art being made today – ranging from artists who have been prominent in the international scene since the late 1980s to emerging artists who are currently being recognized internationally.

This exhibition was organized by Samek Art Gallery, Bucknell University, Lewisburg, PA; curated by Dan Mills and Xiaoze Xie.

Gallery Director: Kathleen Stoughton

April 8 – 23, 2005

Brad Borevitz, Alex Dragulescu, Rachel Beth Egenhoefer, Christine Foerster, Katie Herzog, Matt Hope, Malisa Humphrey, Danny Jauregui, Tara Knight, Simone Lueck, Kimberly Manchester, Kia Neill, Mark Oliver, Ian Patrick, Kelly Sears, Yudi Sewraj, Joel Swanson, Sara Takahashi

Now Happening, an exhibition featuring the work of 18 graduating Master of Fine Art students from UCSD’s Visual Arts Department, will be on view at the University Art Gallery, UCSD from April 8 – 23, 2005. The exhibition is dedicated to Professor Emeritus Allan Kaprow, a vital member of the UCSD Visual Arts faculty from 1974-1993.

Now Happening, features the diversity and challenging nature represented in the work of graduating Master of Fine Arts students from UCSD’s Visual Arts Department. The exhibition is curated by Alison Gingeras, Curator of Contemporary Art at the Centre Georges Pompidou; Kathleen Stoughton, Director of the University Art Gallery, UCSD; and Professors Jordan Crandall and Ernest Silva of the UCSD Visual Arts Department.

The exhibition demonstrates the substantial diversity of artistic form and expression found in the works of the MFA students. A broad range of media is represented, including photography, painting, sculpture, installation, video, and digital media. Some works investigate the distinction between reality and fabrications while others experiment with perspective and the complexities of virtual reality. An assortment of works, expressing concepts through a multitude of symbols and materials, Now Happening comes to represent the forefront of contemporary art in our times.

Funding for the exhibition and catalogue is provided by the Division of Arts and Humanities and the Center for the Humanitites, UCSD.

Gallery Director: Kathleen Stouhton

Angelbert Metoyer

Jan. 21 – March 19, 2005

The University Art Gallery, UC San Diego presents Angelbert Metoyer in his first West Coast solo exhibition. Metoyer’s work is a complex paradigm of incongruous shapes, found objects, math, science, ancestry, and spirituality, all intricately laced together. His compositions are made up of multiple parts to create an analogous whole – part star chart, part family tree, part diary and part official document; tied together with iconography, wit and style. But although each creation is saturated with information, the works are at the same time surprisingly serene. To add to this contradiction, Metoyer’s work seems at time innocent with his improvisational gestures; but combined with highly symbolic marks of religion, cosmology and mythology there is also a sense of sophistication and the idea that Metoyer is creating a larger scheme to be decoded. The combination of past and present resides in the works of Metoyer. His art on one hand follows in the tradition of his father’s people, ancestors who were medicine men in the villages of the Gold Coast in Africa. Metoyer is also an artist who engages in contemporary time and place. He is well aware of the rational and technological bias of popular American culture and revels in the challenge of introducing his unconventional and magical vision of the world.

2004

loudIMAGE: Luis Gispert

Oct. 14 – Dec. 11. 2004

April 16 – June 12, 2004

Jan. 30 – March 20, 2004

2003

Oct. 3 – Dec. 13, 2003

Feb. 7 – April 19, 2003

Peter Voulkos and the Otis Group.

2002

Oct. 25 – Dec. 26, 2002

Ciel Bergman, Jacci Den  Hartog, Marcelo Pombo, Darren Waterston, Leigh Li-Yun Wen, and Yek.

April 5 – June 16, 2002

Amy Alexander, Sheldon Brown, Steve Fagin, Thomas Allen Harris, Louis Hock, Adriene Jenick, Barbara Kruger, Ernest Silva, Lev Manovich, Kim MacConnel, Jennifer Pastor, Faith Ringgold, Italo Scanga, Phel Steinmetz, and Babette Mangolte.

Jan. 17 – March 23, 2002

Edward Burtynksky and Stephane Couturier.

2001

Oct. 5 – Dec. 8, 2001

April 6 – June 16, 2001

Jan. 19 – March 23, 2001

Phil Binaco, Bill Scanga, Robin Charles Clark, Margo Schriber, Bruce Conner, Fred Tomaselli, Gary Gissler, Spencer Tunick,Teo Gonzalez, Nancy Webber, Gabrielle Kanter, Anne Wilson, Guy Limone, Kumi Yamashita, Jay McCafferty.

2000

Oct. 13 – Dec. 9, 2000

Aug. 3– 26, 2000

April 14 – May 27, 2000

Jan. 28 – March 18, 2000

Robin Brisebois, James Brwin, Kathleen McCormick, Rob Wellington Quigley, Jonathon Segal, Ted Smith, and Lloyd Russell.

1999

Oct. 2 – Dec. 11, 1999

Garnett Puett, Mario Resis, Mineko Grimmer, Roger Ackling, Dove Bradshaw, Daniel Ladd, Jonathan White, and Canan Tolon.

Aug. 4 – 28, 1999

June 12 – July 24, 1999

Jean Lowe and Kim MacConnel.

April 9 – May 29, 1999

Jan. 23 – March 16, 1999

1998

Peter Sarkisian: Dusted

Sept. 26 – Dec. 12, 1998

June 30 – Aug. 29, 1998

Sol Lewitt, William Bailey, Francesco Clemente, Hans Haacke, Chuck Close (Incomplete List of Artists).

April 25 – June 13, 1998

Ricardo Legorreta, Mark Mack, Eric Owen Moss, Antoine Predock, Rob Wellington Quigley, the team of Tod Williams and Billie Tsien, and Wallace Cunningham.

Jan. 10 – March 21, 1998

Howard Ben Tré, Dale Chihuly, Kiki Smith, Italo Scanga, Alessandro Diaz de Santillana.

1997

Sept. 26 – Dec. 4, 1997

June 12 – July 26, 1997

April 12 – May 24, 1997

Eleanor Antin, Manny Farber, Ernest Silva, Faith Ringgold, Jerome Rothenberg, Helen and Newton Harrison, Fred Lonidier, David Antin, Patricia Patterson, Kim MacConnel, Babette Mangolte, Harold Cohen, Italo Scanga, Phel Steinmetz, Steve Fagin.

Jan. 31 – March 22, 1997

Stephanie Peek, Jessica Snow, Katherine Sherwood, Wendy Sussman, Tomas Nakada, Christopher Brown, Squeak Carnwath, and Pegan Brooke.

1996

Nov. 8 – Jan. 11, 1997

April 11 – June 1, 1996

Vito Acconci, Laurie Anderson, Gretchen Bender, John Cage, John Cale with Joseph Kosuth, Fortuyn/O’Brian, Aminah Robinson and Kiki Smith with Margaret De Wys.

Feb. 8 – March 23, 1996

1995

Nov. 2 – Dec. 8, 1995

Jan.14 – Feb. 26, 1995

Jan. 14 – Feb. 26, 1995

Eleanor Antin, Sheldon Brown, Harold Cohen, Steve Fagin, Manny Farber, Jean-Pierre Gorin, Thomas Allen Harris, Helen Mayer Harrison, Newton Harrison, Allan Kapro, Babette Mangolte, Patricia Patterson, Faith Ringgold, Jerome Rothenberg, Italo Scanga, Ernest Silva, Phel Steinmetz.

1994

Nov. 10 – December 1994

Francis Frith, Maxime Du Camp, Felix Teynard, Francis Bedford, J. Pascal Sebah, Antonine Beato, the Zangaki brothers, Maison Bonfils, W. Hammerschmidt and G. Lekegian.

Sept. 23 – Oct. 20, 1994

inSITE (?), (Incomplete List of Artists).

May 13 – June 12, 1994

Linda Fross Asakawa, Trine Bumiller.

April 9 – May 8, 1994

March 5 – April 2, 1994

Ante Marinovic, Mario Uribe.

Jan. 15 – Feb. 27, 1994

1993

Nov. 6 – Dec. 12, 1993

Sept. 24 – Oct. 31, 1993

Esther Bubley, John Collier Jr., Marjory Collins, Jack Delano, Walker Evans, Dorothea Lange, Russell Lee, Gordon Parks, Arthur Rothstein, Ben Shahn, John Vachon and Marion Post Wolcott.

March 20 – April 25, 1993

Tré Arenz, Rachel Clawson, Berry Matthews.

March 20 – April 25, 1993

Tré Arenz, Rachel Clawson, Berry Matthews.

Jan. 20 – March 7, 1993

Brent Riggs, Daniel Wheeler, Larissa Wilson.

Jan 5 – 24, 1993

Jose Azel, David Burnett, J.B. Dederich, Frank Fournier, Kenneth Jarecke, Annie Leibovitz, Dilip Mehta, Alon Reininger.

1992

Nov. 7 – Dec. 13, 1992

Ian Hamilton Finlay, Tom Phillips, Ian Tyson.

Sept. 26 – Nov. 1, 1992

Manny Farber.

May 23 – June 21, 1992

Leon Golub.

April 11 – May 17, 1992

Manfred Muller, Julia Lohmann.

Feb. 22 – March 29, 1992

Harold Cohen, Faith Ringgold, Helen Mayer Harrison, Jerome Rothenberg, Newton Harrison, Italo Scanga, Kim Macconnel, Ernest Silva, Patricia Patterson, Phel Steinmetz.

Jan. 11 – Feb. 9, 1992

Eleanor Antin, Steve Fagin, Allan Kaprow, Fred Lonidier, Victoria Bearden, Dan Boord, Jane Cottis, Moyra Davey, Helen De Michiel, Greg Durbin, Kip Fulbeck, Wendy Geller, Gene Gort, Frank Grow, Bob Harris, Robert O. Kinney, Robert Lawrence, Barnaby Levy, Sherry Millner, Susan Mogul, Stephen 0’Riordan, Jan Peacock, Martha Rosler, Jayce Salloum, Joyan Sanders, Jason Simon, Erika Suderburg, Christine Tamblyn and Ann Torke.

1991

Nov. 2 – Dec. 15, 1991

Danna Salvo (Incomplete List of Artists).

Sept. 28 – Oct. 27, 1991

Derek Boshier.

May 18 – June 16, 1991

Lee Boroson, Tom Driscoll, Amanda Farber, Judith Hersko.

April 13 – May 12, 1991

Albert Chong, James Connor, Joan Eda, Tyrone Georgiou, Ani Gonzalez-Rivera, Todd Gray, Leah Jaynes Karp, Geno Rodriguez, Jeffrey Scales, Coreen Simpson, Lorna Simpson, Clarissa Slight, Elisabeth Sunday, Christian Walker and Pat Ward Williams.

March 2 – April 7, 1991

Ansel Adams.

Jan. 12 – Feb. 24, 1991

Alexis Smith.

1990

Nov. 9 – December 1990

Barbara Steinman, Norman and Bruce Yonemoto.

Sept. 29 – Oct. 28, 1990

Mark Bryan, Carolyn Cardenas, Ethel Greene, Karla Holland-scholer, Wolfgang Jasper, Cythia Kelsey-Gordon, Shari Lamanet, Deborah F. Lawrence, Barney Reid, Phyllis Shafer, Paul Singdahleen, Peter Steams.

May 25 – June 24, 1990

Craig Stecyk and Fre Thieme.

April 7 – May 13, 1990

Stanton Eckstut, Barton Mayers, James Rouse, Daniel Solomon.

Feb. 24 – March 25, 1990

David Engbritson, Carol Hepper, Yolande McKay, Creighton Michael, Michael Peed, Zizi Raymond, Wade Saunders.

Jan. 10 – Feb. 18, 1990

James Trivers.

1989

Oct. 21 – Dec. 10, 1989

Vitaly Komar, Alexander Melamid.

Sept. 20 – Oct. 15, 1989

May 20 – June 25, 1989

Richard Bosman.

April 15 – May 14, 1989

William Beckley, Madeleine Carolan, Michael Cuddington, Susan Leopold, Lori Precious, Chris Wilder.

March 11 – April 9, 1989

Robert Israel.

Jan. 4 – Feb. 26, 1989

Richardo Legorreta, Fumihiko Maki, Richard Meier, Richard Roger.

1988

Nov. 12 – Dec. 11, 1988

Gronk, Slocum.

Oct. 1 – Nov. 6, 1988

Erica Daborn, Dennis Leon, Don Suggs, Wolfgang Jasper, John Monti, Millie Wilson, Mike Kelley, Mark Perlman, David Wilson, Fran Siegel.

May 21 – June 19, 1988

Eleanor Antin, Judith Baca, Kathleen Bick, Cheryl Bowers, Joan Brown, Frances Butler, Squeak Carnwath, Irma Cavat, Barbara Drucker, Helen Harrison, Anne Healy, Gyongy Laky, Sylvia Lark, Kathryn Metz, Mary O’Neal, Patricia Patterson, Lucy Plus, Faith Ringgold, Victoria Rivers, Cornelia Schulz, Barbara Shawcroft, Patricia Wickman.

April 6 – May 15, 1988

Eleanor Antin, Harold Choen, Steve Fagin, Jean-Pierre Gorin, Helen Mayer Harrison, Newton Harrison, Louis Hock, Tony Labat, Seaver Leslie, Fred Lonidier, Kim MacConnel, Babette Mangolte, Peter Phillips, Faith Ringgold, Martha Rosler, Robert Sanchez, Italo Scanga, Ernest Silva, Elizabeth Sisco, Phel Steinmetz.

Feb. 27 – March 27, 1988

Richard Allen Morris.

Jan. 9 – Feb. 9, 1988

Richard Baker, Edith Baumann-Hudson, Dave DeBuck, John Eden, Michael Roberts, Pauline Stella Sanchez.

1987

Nove. 7 – Dec. 13, 1987

Sept. 26 – Oct. 31. 1987

Marga Clark, Benedict J. Fernandez, Marco Kallech, George Malave, Adal Alberto Maldonado, Becky Mayer, Tony Mendoze, Marcelo Montecino, Geno Rodriquez, Emillio Rodriguez-Vazquez, Sebastiao Salgado, Richard Sanchez, Andres Serrano.

May 15 – June 14, 1987

Janet Delaney, Juan Downey, Gary Hill, Tony Labat, Michael Naimark, Anita Thacher, David Wilson.

April 3 – May 3, 1987

Chris Burden, Kenneth Capps, Jil Giegrich, Mathieu Gregoire, Margret Honda, Mark Lee.

Feb. 20 – March 15, 1987

Joe Brainard.

Jan. 10 – Feb. 15, 1987

Madden Harkness, Tim Hawkinson, Patty Wickman.

1986

Nov. 8 – Dec. 14, 1986

John Ahearn, Jean Michel Basquiat, Richard Bosman, Neil Jenney, Ansel Kiefer, Brice Marden, Malcolm Morley, Susan Rothenberg, Daivd Salle, Julian Schnable, Terry Winters.

Oct. 10 – Nov. 2, 1986

Ann Chamerlain, Donigan Cumming, Nic Nicosia.

May 16 – June 22, 1986

Kazuo Kadonaga. Yayoi Kusama, Ryoichi Majima, Goro Namerikawa, Kazuo Shiraga, Katsuro Yoshida.

April 12 – May 11, 1986

March 8 – March 23, 1986

Feb. 8 – March 2, 1986

Rod Baer, Squeak Carnwath, James Patrick Finnegan, Davis Klamen, Alison Saar.

Jan. 3 – Feb. 2, 1986

Lois Colette, John Fudge, Steve Galloway, Marjorie Nodleman.

1985

Oct. 5 – Nov. 5, 1985

Belle Baranceau.

June 1 – July 7, 1985

June 1 – July 7, 1985

Paul Branch.

April 20 – May 19, 1985

Brian Longe, Michael Lucero, Constance Mallison, Robert Gil de Montes, Pierre Picot, Judith Simonian.

March 16 – April 14, 1985

Rosann Berry, Barbara Dorris, David French, Ming Murray, Garrison Roots.

Feb. 8– March 10, 1985

Jan. 4 – Febr. 3,1985

1984

Nov. 2 – Dec. 9, 1984

Theodrone Waddell.

Sept. 22 – Oct. 28, 1984

May 25 – June 24, 1984

Eleanor Antin, Harold Cohen, Manny Farber, Helen Mayer and Newton Harrison, Louis Hock, Allen Kapro, Seaver Leslie, Fred Lonidier, Chip Lord, Parricia patterson, Faith Ringhold, Italo Scanga, Ernest Silva, Philip Steinmetz.

March 10 – April 15, 1984

Jim Isermann, Roy McMakin, Nick Vaughn.

March 10 – April 15, 1984

1983

Nov. 11 – Dec. 18, 1983

D.L. Bean, Beth Berolzhemimer, Phyllis Bramson, Bill Cass, Jeff Colby, Gene Coleman, Paolo Colombo, Arturo Cubacub, John Dilg, Rose Divita, Michele Feder-Nadoff, Joyce fernandez, Wayne Fielding, Phi; Hanson, Karl Hauser, Richard Hull, Michiko Itatani,  Vera Klement, E.D. Klepper, Suzan Kunz, Jim Lutes, John Manning, Robert McCauley, Jeanine Mellinger, Mark Petrick, Tony Philips, Gordon Powell, Christina Ramberg, Dan Ramirez, Edward Rankus, Hollis Sigler, Brent Sparlin, Janice Tanaka, Lynn Webster, Guy Whitney, Karl Wirsum.

Sept. 30 – Oct. 30, 1983

Glen Rubsamen, Lari Pittman, Janet Tholen, Naomi Bartus, Michael Farber.

May 27 – June 26, 1983

Miroslav Antic, Mary Beth Edelson, Howard Finster, Brenda Goodman, Barbara Houghton, Peter Huttinger, Thomas Lanigan-Schmidt, Frank Lind, Richard Long, William ‘Wylie’ Lucero, Tom Marioni, Andy Nasisse, Pedro F. Perez, Elijah Pierce, Konstantine Pilarinos, Herman Raymond, Nellie May Rowe, Tony Joseph Salvatore, George Lopez, Chris Trujillo, Leo G. Salazar, Jose Mondragon, Ken Saville, Italo Scanga, Randy Schmidt, Susan Sensemann, Audrey Skoudas, Sam Thurston, Edgar Tolson, Michael Tracy.

April 15 – May 22, 1983

Terry Allen.

Feb. 10 – March 20, 1983

Arquitectonica, Peter Eiseman, Michael Graves, Moore Ruble Yudell, Rob Wellington Quigley, Susana Torre, Frank O. Gehry, Tod Williams and Associates, Batey & Mac, Venturi, Rauch, Scott Brown.

Janu.7 – Jan. 30, 1983

Tom Adair, Laurie Anderson, Ant Farm/T.R. Uthco, Jules Backus, Kenn Beckman, Skip Blumberg, Bob & Bob, Dan Brood, Peter Brownscombe, Ferris Butler, Teddy Dibble, Kit Fitzgerald/John Sanborn, Howeard Fried, General Idea, Daidson Gigliotti, Louis Grenire, Ernest Gusella, Doug Hall, James Hartel, Julia Heywood, Dale Hoyt, The Kipper Kids, Mitchell Kriegman, Alan Lande, Pier Marton, Tony Mascatello, Tim Maul, Laurie McDonald, Tony Oursler, Nam June Paik, Kenneth Robbins, Llene Segalove, Tom Sims, Michael Smith, brad Stensberg, Jeff Strate, Ed Tannenbaum, Twin Art, Willie Walker, William Wegan, Graeme Whifler.

1982

Nove. 6 – Dec. 5, 1982

Margery Amdur, Graham Budgett, Dan Rice, Gary Robbins.

Septe. 24 – Oct. 31, 1982

Martha Air, Peter Alexander, Joel Bass, Robert Bechile, William Brice, Joan Brown, Karen Carson, Vija Celmins, Daniel Crytron, Roy de Forest, Tony DeLap, Richard Diebenkorn, Dan Douke, Manny Farber, Sam Francis, Denise Gale, Charles Garabedian, Jeremy Gilbert-Rolfe, Joe Goode, Heidi Hardin, Maxwell Hendler, Charles Hill, Tom Hoiste, Richard Jackson, Craig Kauffman, Kim MacConnel, Arnold Mesches, Joan Moment, Ed Moses, Lee Mullican, Nathan Oliveria, Margit Omar, Gordon Onsloe-ford, Patrica Paterson, Astrid Preston, Janis Porvisor, Cherie Raciti, Joseph Raffael, Sanda Rubin, Ed Ruscha, Ursula Schneider, Don Sorenson, Louise Stanley, Rick Stich, David Storey, Don Suggs, Wayne Theibaud, Joyce Treiman, Ann Thorneucroft, William Wiley, Andrew Wilf, Tom Wudi.

July 25 – July 29, 1982

May 1 – June 11, 1982

Tom Butter, Tom Evans, John Fekner, Judith Hudson, Peter Jullian, Cheryl Laemmle.

March 20 – April 25, 1982

Natalie Gontcharova, David Hockney (Incomplete List of Artists).

Febr. 20 – March 14, 1982

Kiki MacInnis, Michael Kelley, Michael McMillen, Jeffrey Vallance, Mary Jones.

Jan. 21 – Feb. 11, 1982

Laurie Anderson, Eleanor Antin, Jacki Apple, Ida Applebroog, Judith Bary, Nancy Buchanan, Judy Chicago, Suzanne Lacy-Sandra, Orgel-Aviva Rahmani, Besty Damon, Norma Jean Deak, Mary Beth Edelson, Feminist Art Workers, Simone Forti, Tina Girouard, Donna Henes, Lynn Hershman, Poppy Johnson, Joan Joanas, Alison Knowles, Leslie Labowitz, Suzanne Lacy, Linda Montano, Pauline Oliveros, Adrian Piper, Yvonne Rainer, Rachel Rosenthal, Martha Rosier, Carolee Schneemann, Jill Scott, Bonnie Sherk, Theodora Skipitares, Barbara Smith, Mierie Ukeles, The Waitresses, Faith Wilding, Hannah Wilke, Martha Wilson.

Jan. 9  – February 1982

John Buck.

1981

Oct. 16 – Nov. 25, 1981

Sept. 15 – Oct. 9, 1981

Louis Carlos Bernal, Robert C. Buitron, Alberto Lau, Meridel Rubenstein, Richard Tichich.

May 21 – June 12, 1981

April 5 – May 14, 1981

Feb. 6 – March 15, 1981

Ellen Brooks, William Eggleston, Mitch Epstein, Joe Maloney, Jan Groover, David Haxton, Len Jenshel, Joel Meyerowitz, John Pfahl, Joel Sternfield.

Jan. 6 – Jan. 28, 1981

Scipio Moorhead, Sargent Johnson, Raymond Steth, Elizabeth Catlett, James Wells, Betye Saar (Incomplete List of Artists).

1980

Nov. 7 – Dec. 11 1980

Joan Brown, Robert Colescott, Roy DeForest, Day Garson, Janis Provisor and Jan Wurm.

Oct. 6 – 30, 1980

Bern Schwartz.

Sept. 26 – Oct. 17, 1980

Bill Fontana.

June 6 – 26, 1980

Eleanor Antin, Harold Cohen, Manny Farber, Jean-Pierre Gorin, Helen Mayer Harrison and Newton Harrison, Louis Hock, Ulysses Jenkins, Madlyn Kahr, Allan Kaprow, Fred Lonidier, Patricia Patterson, Italo Scanga, Ernest Silva and Phil Steinmetz.

April 19 – May 23, 1980

Feb. 15 – March 21, 1980

Raymond Saunders.

Jan. 10 – February 1980

Bill Robles, Ruben Lopez and David Rose.

1979

The Decorative Impulse

Nov. 1 – Dec. 9, 1979

Billy A1 Bengston, Cynthia Carlson, Joyce Kozloff, Robert Kushner, Kim MacConnel, Lucas Samaras, Miriam Schapiro, Frank Stella, George Sugarman, Robert S. Zakanitch and Barbara Zucker.

Autochromes from the Albert Kahn Collection

Sept. 27 – Oct. 25, 1979

Albert Kahn.

April 5 – May 13, 1979

Betye Saar.

March 2 – 25, 1979

Douglas Huebler.

Jan. 17 – Feb. 11, 1979

Juan Downey.

1978

Nov. 9 – Dec. 10, 1978

William Christenberry, Jared Bark, Donna Dennis, Ira Joel Haber, Theodore Halin, Roland Reiss, Paula Sweet.

October 6 – 29, 1978

Sylvia Salazar Simpson, Carole Carrompas, Marti Hespen, Kathy Saxe, and Eve Pouinard, Victoria Nodiff, Karen Carson, Rita Yokoi, Jerri Allyn, Leslie Belt, Chutney Lu Gunderson, Parri Nicklaus, Jamie Wildman, and Denise Yarfitz.

Oct. 25, 1978

Robert Kushner.

April 7 – May 17, 1978

Frida Kahlo.

March 1 – 24, 1978

Tom Wudl.

Jan. 20 – Feb. 17, 1978

Paul Francis Conrad.

1977

Nov. 11 – Dec. 11, 1977

Diane Arbus and Richard Avedon.

Oct. 11 – 23, 1977

Wendy Clarke.

April 18 – May 15, 1977

March 1 –  20, 1977

Mary Beth Edelson.

1976

Nov. 8 – Dec. 2, 1976

William Lundberg and Alan Turner.

April 2 – 23, 1976

David Antin, Eleanor Antin, Newton Harrison, Patricia Patterson, Ree Morton, and Jehanne Teilhet.

Feb. 17 – March 5,1976

Lynn Hershmann, Stephen Laub, and Larry Goodell.

Jan. 11 – Feb. 6, 1976

Poetry: Alurista, Jose Montoya, Tino Villanueva; Music: Chunkie; Performance: Teatro Mestizo (Incomplete List of Artists).

1975

Nov. 3 – 25, 1975

Money, Vlaminick, Morisot, Vuillard, Pissarro, Signac, Renoir, Derain.

Sept. 25 – Oct. 26, 1975

Jo Hanson.

May 7– June 6, 1975

Roy Lichtenstein, Frank Stella, Robert Rauschenberg, Billy Al Bengston, Ed Moses, Ed Ruscha, Sam Francis, and Alfred Jensen.

April 1 – 27, 1975

Miriam Schapiro.

March 7 – 16, 1975

Alice Aycock, Gary Beydler, Douglas Bond, Vija Celmins, Christo, Robert Cottingham, Laurence Dreiband, Julie Geige, Ralph Goings, Hans Haacke, Jo Hanson, Nancy Holt, Robert Morris, Shirley Pettibone, Kenneth Price, Ralph Reed, Ed Ruscha, Allen Sekula, Elyn Zimmerman.

Jan. 22 – Feb. 21, 1975

Fuseli, Gainsborough, Hogarth, Rowlandson, Romney, and Stubbs (Incomplete List of Artists).

1974

Nov. 7 – Dec. 4, 1974

Barbara Smith.

May 15 – June 7, 1974

Les Levine.

April 9 – 24, 1974

Channa Davis Horwitz.

Feb. 21 – March 15, 1974

Ida Horowitz.

Jan. 14 – Feb. 15, 1974

Tom Holland, Ed Moses, and Richard Yokomi.

1973

November 13th – [unknown], 1973

Bob Wade.

Oct. 25 and 28, 1973

Roberto Rossellini.

Oct. 18 – Nov. 9, 1973

Emily Beebe, Curtis Berak, Daniel Camp, Jim Cantor, Kathy Esty, Mary Fish, Kathleen Frey, Linda MacLean, Gerry McAllister, Kaz Ota, Nancy Ping, Nancy Rapp, Martha Rosler, Wade Saunders, Sara Sealander, Allan Sekula, Havey Tarango, Byron Wilding.

May 21 – June 15, 1973

April 4 – 7, 1973

Students from San Diego Area.

Feb. 20 – March 24, 1973

Ukiyo-e Artists (Incomplete List of Artists).

Jan. 9  – 26t, 1973

Edward Ruscha.

1972

Nov. 17 – Dec. 15, 1972

Maya-Quiche Natives of Highland Guatemala (Incomplete List of Artists).

Oct. 20 – Nov. 12, 1972

Barbara Strasen and Susan Clover.

Oct. 9 – 15, 1972

Jeff Raskin.

Feb. 20 – March 10, 1972

Arlene Bendler, Joy Hayashi, and Eden Hodara.

Feb. 4, 1972

Simone Forti.

Jan. 4 – 20, 1972

1971

Nov. 19 – 20, 1971

Mabou Mines presents The Red Horse Animationi directed by Lee Breuer with music composed by Philip Glass and Becket’s Play.

Nov. 16 – Dec. 10, 1971

Carlos Villa and Joseph Raffael.

Oct. 26 – Nov. 12, 1971

Judy Raffael, Thoss Taylor, John Annaloo, and Doug Davis.

Oct. 3 – 22, 1971

Gary Hudson, Manny Farber, Harold Cohen, Jeff Raskin, Michael Todd, Philip Steinmetz, David Antin, Nathan Silver, Ellen von Fleet, and Jehanne Teilhet.

April 21 – May 16, 1971

Nancy Spero, Antonin Artaud.

March 12 – 19, 1971

Nick Rott.

Feb. 27 – April 14, 1971

Alex Katz.

1970

Dec. 4 – 25, 1970

Featuring musical performance by Pauline Oliveros.

Oct. 12 – Nov. 1, 1970

Helen Frankenthaler, Philip Guston, Jack Levine, Jules Olitski, and Moses and Raphael Soyer (Incomplete List of Artists).

May 12 – 24, 1970

Robert Newman.

Febr. 24 – March 15, 1970

Richard Serra.

1969

April 21 – May 22, 1969

Tom Wesselmann, Roy Lichtenstein, John Baldessari, Malcolm Morley, Alex Katz, Sylvia Sleigh, Michelangelo Pistoletto and Richard Estes. 

March 4 – 22, 1969

Alison Knowles (Big Book), George Maciunas, George Brecht, Joe Jones, Dick Higgins, Robert Watts, Tobert Filliou, Emmett Williams, John Baldessari.

Jan. 3 – 26, 1969

Jeff Raskin.

1968

Faculty Show

Nov. 4 – 28, 1968

John Baldessari, Paul Brach, Harold Cowen, Don Lewallen, Miriam Shapiro, Mike Todd.

Oct. 4 – Nov. 3, 1968

Frank Stella, Jasper Johns, Josef Albers, Claus Oldenburg, Ken Tyler (founder of the Gemini Workshop).

March 26 – April 28, 1968

John Altoon.

Feb. 11 – March 10, 1968

Larry Bell, Billy al Bengston, Tony Berlant, Martin Canin, Helen Frankenthaler, Judy Gerowitz, Loyd Harmol, Craig Kaufman, Morris Louis, Philip Pearlstein, Frank Stella.

Jan. 9 – Feb. 4, 1968

Peter Alexander, Michael Asher, John Baldessari, Ron Cooper, Dough Edge, Jessie Jacobs, Su Li, Terrence O’Shea.

1967

Nov. 14 – Dec. 10, 1967

May 7 – 27, 1967

Roberto Matta, Jorge Elliot, Jose Balmes, Ernesto Barreda, Gracia Barros, Louise Mandiola, Eduardo Perez, Sergio Castillo, Juan Egenau, Luis Mandiola, Felipe Castillo and Matia Vial.

Jan. 15 – Feb. 19, 1967

1966

Art of Latin America Since Independence

Sept. 10 – Oct. 16, 1966

David Alfaro Siqueiros, Tarsila do Amaral, Pedro Americo de Figueiredo e Melo, Rodolfo Amoedo, Jose Agustin Arrieta, Federico Assler, Ignacio Baz, Juan Manuel Blanes, Arturo Borda, Teodoro Burchard Haberle, Alexander Calder, Miguel P. Caride, José S. de Castillo, Frederick Catherwood, Jules Robert Challamel, Rafael Coronel, Miguel Covarrubias, Jean Baptiste Debret, Ernest Diera, Demócrito II, Adolphe D’Hastrel, N. Doumic, Daniel Thomas Egerton, Constantino Escalante, Fernando Fader, José Antonio Fernández Muro, Pedro Figari, Theodore Fisquet, Juan Fossa, José Gamarra, Epifanio Garay, Fernando Garcia del Molino, José Gil de Castro, August Henri Victor Grandjean de Montigny, Frederico Otto Grashof, Marcelo Grassmann, Sarah Grilo, William Heath, Alfredo Hlito, Iriarte Hesiquio, Eduardo Kingman Riofrio, Rodolfo Kratzenstein, Wilfredo Lam, Roberto do Lamonica, Wesley Duke Lee, Fernand Léger, Lepori(?), Loballuz, Cándido López, Juan Lovera, Angel Lugue, Luis Pedro Martinez, Johann Moritz Rugendas, Antonio Ruiz, Sabatier, Andrés de Santa Maria, Enrique Sheridan, Carlos Squirru, Rufino Tamayo, Niccas Antoine Taunay, Manuel Tolsá, Mario Toral, Joaquín Torres García, Ramón Torres Méndez, Martin Tovar y Tovar, Guillermo Trujillo, Charles Turner, Juan Manuel Ugarte Eléspuru, Mario Urteaga, Victor Vasarely, Emeric Essex Vidal, Carlos Raúl Villanueva, Alfredo Zalce.