Untitled, 2017 Shell, Stones, Epoxy, Pigment on Pedestal 3.5 X 3.5 X 4 Inches

A Matter Of Course.indd 1 9/10/18 11:46 A Matter of Course

August 13 – September 23, 2018

A Matter of Course Jedediah Caesar Whit Deschner Cara Despain Paul Harris Haley Hopkins Virginia Katz John Knuth Candice Lin Tony Marsh Alison Pirie Cole Sternberg Richard Turner

Viewing stones from the collection of Thomas S. Elias and Hiromi Nakoji

Co-curated by Richard Turner & Marcus Herse

A Matter Of Course.indd 2 9/10/18 11:46 Table of Contents

Stones in Time by Thomas S. Elias ...... 6-7 A Matter of Course by Richard Turner ...... 32-38 Essay by Kylie White...... 60-61 Artist Biographies...... 80-83 Mission Statement...... 84

Cover: Large Chinese gray Taihu stone in wood base Detail Sedimentary limestone 16 x 30 x 8 inches Viewing stone from the collection of Thomas S. Elias and Hiromi Nakoji

Inside Cover: Richard Turner In My End is My Beginning #17 India Ink and tempera drawing 30 x 22 inches Page 1: Chinese Chrysanthemum Flower Stone with root base Sedimentary marine limestone 12.5 x 26 x 2.5 inches Viewing stone from the collection of Thomas S. Elias and Hiromi Nakoji

Pages 4-5: Installation view

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A Matter Of Course.indd 5 9/10/18 11:46 producing fascinating shapes. Thus, their Stones in Time keen interest in abstract stones. The be- lief that a single small rock could embody by Thomas S. Elias the essence of a mountain range or even more, inspired many collectors. Some Rocks are usually thought of as timeless scholars collected stones for contem- static objects that form much the crust plation while others admired the shape, covering Earth. Over vast amounts of colors, texture and patterns of the stones. time, enormous plates on the Earth’s Finding beauty in natural and enhanced surface drifted and collided with other rocks has become a global practice, popu- plates to form the backbone of the phys- lar with hobbyist and connoisseurs alike. ical topography on this planet. Thou- sands of fault lines were created from the Taihu Stone (Jiangsu province, China) pushing, pulling, and subduction of these plates. Mountains ranges were pushed Depressions and holes in this ancient up, valleys were formed, and one layer piece of limestone, sedimentary rock, of rock and sediments was deposited on were originally created by wave action top of another. Volcanic activity, past and over thousands of years. Gradually the present, brought molten materials from softer portions were eroded away leav- deep with the Earth to the surface to form ing behind this abstract form of ridges, new rocks that mixed with those already on the surface. collected from Lake Tai near Wuxi; how- Over subsequent millennia exposed rocks ever,valleys, the and supply holes. was These exhausted stone longwere ago. first were subjected to varying weather con- Now, similar stones are collected from ditions and the action of moving waters. other regions of Jiangsu and additional Some rocks are one or two billion years provinces but still bear the name Taihu old while others are measured in millions stones. The stones are generally cream and hundreds of thousands of years. Still colored, but also found in gray, tan, red other younger rocks can be measured in and black. Many of these stones have tens of thousands of years or just in just a been enhanced by stone carvers to im- few years, months or days. Consider the prove their appearance.

the Hawaiian archipelago where stones Indian Blanket Stone (Death Valley, Califor- canrecent be volcanicseen forming activity as theand magna lava flows hard in- nia) ens. Stones are formed and subject to aging before they begin a long slow pro- This siltstone stone was collected in gression of breakdown and decay. In the Death Valley long before this area was process, they have developed into many made into a National Monument. It is a varied and fascinating forms, a few of sedimentary stone that is composed of which have been gathered and appreciat- ed as viewing stones. bigger than clay particles. Silt particles People have collected unusual and beau- arefine between grains that 0.00015 are smaller and 0.0025 than sand inches yet tiful stones for varying reasons. Ancient in diameter! The silt was compressed Chinese scholars steeped in the teaching over time to form a relatively soft stone. of Daoism and Buddhism aspired to live in The reddish colorful patterns on this thin harmony with nature. They believed that lens of siltstone stone were formed by de- a universal life force condensed in rocks,

A Matter Of Course.indd 6 9/10/18 11:46 posits of iron oxides. These contrast with environment. Even portions of the bark the patterns of more intricate black lines on the tree trunk were faithfully replaced with minerals that maintained the original form of the bark. The stone is mainly ofcomposed Death Valley of manganese is complex. that There infiltrated are chalcedony, a form of silica. manyfine cracks alluvial in thedeposits siltstone. formed The by geology streams Chrysanthemum Flower Stone (China) underground. During the Pleistocene period,flowing recentinto the along valley the and geological disappearing time This large black stone is composed of ancient marine limestone, a sedimentary - rock about 250 million years old. It was ent.scale, As lakes these fed waters by waters resources flowing were from cut formed when calcium carbonate pre- off,the theeastern lakes flank slowly of thedisappeared Sierra were leaving pres cipitated and drifted in a shallow sea to dry lake beds. The Indian Blanket stone the interface between the water and sea was one of the products of the changing bottom. Three dimensional mineral for- geological and environmental conditions mations slowly developed when a suitable forming Death Valley. nucleus was available. These large, whit-

Gobi Desert Agate (China) over several million years. The marine limestoneish, flower-like was uplifted calcite formations and eventually develop The concentric rings on this rock indicate formed much of the underlying rock in that it was formed by the deposition of southern China. one layer after another of silica rich minerals on another microgranular quartz Chrysanthemum Flower Stone (Japan) layer resulting in the formation of a band- ed rock. As a result, it is neither sedimen- The more colorful and harder Japanese tary, igneous or metamorphic. Agates most often form as mineral deposits in air their origin in ancient marine limestone. pockets in volcanic rocks. However,chrysanthemum this rock flower has been stones subjected also have to intense heat and pressure as the Japanese Ventifact Rock (Nevada) archipelago was formed. Impurities in the rock add color to many of these Jap- This very dense rock was shaped by many years of exposure to blowing sand lad- composed of calcite, aragonite and related en winds. The harder portions remain minerals.anese stones. This The stone flower-like originated material from Shi is - while the softer ones are lost. It contains koku Island in southeastern Japan. streaks of hard quartz in a larger matrix containing silica and possible rhyolite Mountain-shaped Stone (Japan) which would indicate that this is of volcanic origin. This old classic Kamo River stone represents traditional Japanese stone appre- Petrified Wood (California) ciation. It may have been used to decorate the waiting room in a formal tea ceremo- This stone was formed by the slow re- ny house. This basaltic stone is volcanic placement of all of the organic matter in origin and has been subject to further with minerals, typically in a low oxygen wear in the fast-moving head waters of

A Matter Of Course.indd 7 9/10/18 11:46 Patternthe Kamo Stone river (United that flows States) through Kyoto.

The unusual wavy patterns on the stone from the Trinity River in northern Califor-

gravel that eroded the softer portions of thisnia were metamorphic formed by rock. water, The sand green and por fine- tions of this stone are serpentine alternat- ing with other minerals.

Juilong Bi Stone China)

This is an unusually hard rock that was found in the cataracts and pools of the headwaters of the Juilong River in Fujian province, China. This stone is a combi- nation of quartz, feldspar and the silicate minerals diopsode and tremolite, hence, it is a metamorphic rock with an igneous origin. It has a characteristically wrinkled surface and is typically greenish to bluish green in color.

North American (California) 11 x 26 x 6 inches Viewing stone from the collection of ThomasPetrified S. wood Elias in and wood Hiromi base Nakoji

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A Matter Of Course.indd 9 9/10/18 11:46 North American (Nevada) Ventifact stone in carved wood base 13 x 4 x 6.5 inches Viewing stone from the collection of Thomas S. Elias and Hiromi Nakoji

Page 11: Chinese Gobi Desert agate 8 x 6 x 4 inches Viewing stone from the collection of Thomas S. Elias and Hiromi Nakoji

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A Matter Of Course.indd 12 9/10/18 11:46 North American (California, Trinity River) Pattern Stone Metamorphic Rock (serpentine possible with jade) 11 x 13 x 4 inches Viewing stone from the collection of Thomas S. Elias and Hiromi Nakoji

A Matter Of Course.indd 13 9/10/18 11:46 Japanese Mountain Stone in carved wood base 13.5 x 6.8 x 8 inches Viewing stone from the collection of Thomas S. Elias and Hiromi Nakoji Page 15: Red Japanese Shikoku Chrysanthemum Flower stone in light colored wood base Sedimentary rock enhanced by mechanical polishing 12.5 x 26 x 2.5 inches Viewing stone from the collection of Thomas S. Elias and Hiromi Nakoji

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A Matter Of Course.indd 15 9/10/18 11:46 Chinese Juilong Bi stone in contemporary rosewood base 15 x 16 x 7.8 inches Viewing stone from the collection of Thomas S. Elias and Hiromi Nakoji

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A Matter Of Course.indd 18 9/10/18 11:47 Large Chinese gray Taihu stone in wood base Sedimentary limestone 16 x 30 x 8 inches Viewing stone from the collection of Thomas S. Elias and Hiromi Nakoji

Pages 20-21:

Installation view

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A Matter Of Course.indd 22 9/10/18 11:47 Jedediah Cesar Untitled, 2017 Shell, stones, epoxy, pigment on pedestal 3.5 x 3.5 x 4 inches

A Matter Of Course.indd 23 9/10/18 11:47 Whit Deschner From: Hot Licks series, 2017 Holely Grail Page 25: Whit Deschner From: Hot Licks series, 2017 Lickedly Split

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A Matter Of Course.indd 25 9/10/18 11:47 Cara Despain seeing the stone (abridged), 2016 Cast concrete Dimensions may vary

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A Matter Of Course.indd 28 9/10/18 11:47 Cara Despain seeing the stone (abridged), 2016 Installation details Cast concrete Dimensions may vary

A Matter Of Course.indd 29 9/10/18 11:47 Page 31: Paul Harris Uncommon Conformity, 2018 18 x 16 inches Petrified wood andPage pine 30 stump top: Paul Harris Lining Up, 2018 Migmatite and stump 24 x 17 inches Page 30 bottom: Paul Harris Serpentine Undulations, 2018 Migmatite and stump 18 x 22 inches

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A Matter Of Course.indd 31 9/10/18 11:47 (thinness or slimness), Zhou (wrinkles and A Matter of Course creases), Lou (channels) and Tou (openness or holes). Cole Sternberg employs water by Richard Turner as the “co-creator” of his visual dialogue. His paintings, which he drags behind boats In 1999 Hiroshi Sugimoto photographed and ships, evidence the abrading force of a life-size wax reproduction of Leonardo the wake as the layers of paint are scoured da Vinci’s The Last Supper. Composed of from the canvas by the force of the waves. The distressed patterns on the scrubbed feet long. Sugimoto produced an edition canvases are evidence of the action of offive 5 4’which x 5’ panels,were sold the to image museums is nearly and 25 water just as the holes in the Taihu stone collectors. He kept two additional sets in bear witness to the random forms created storage in the basement of the building by erosion. The hand of the artist in both in which his Chelsea studio is located. On cases is subtle. Sternberg determines the - original composition and color of his painted his basement storage area, severely ings and oversees the watery disintegration damagingOctober 28, the 2012 photographs. Hurricane InsteadSandy flood of of the canvasses. The discoverer/creator of lamenting the disaster, Sugimoto was de- the Taihu stone sometimes “improves” on lighted by the unexpected patina that the nature’s work, enlarging holes and deepen- ing channels and then returning the stone said to have commented that his Last Sup- to the lake bottom where it may age for perflood acquired waters bestoweda rich patina on inthe a work.little over He is another decade or more. a decade. It took da Vinci’s fresco nearly The humor of the 1960s animated sitcom Sugimoto dried the streaked and smudged The Flintstones relied on the creative printsfive centuries and exhibited to acquire them its in aged 2014 surface. under anachronism of setting the foibles of a a new title: The Last Supper: Acts of God. mid-century suburban family in prehistory. What for most artists would have been a In the town of Bedrock, where the Flint- catastrophe was a godsend for Sugimoto. stones and their neighbors the Rubbles live, The mural was begun by the artist and nearly everything is made from rock. Their completed by the hurricane. houses are caves, their furniture and ap- pliances are stone. Wood and animal hides Water, in both its liquid and solid form supplement the imaginative stonework of is the enemy of rock. Streams, rivers and the suburb. Dinosaurs power the machin- the ocean wear away at rock, rivers erod- ery at the quarry where Fred and Barney ing and cutting it, the ocean grinding it work. A bird uses its pointed beak to play smooth. Water seeps into stones leaching the “rock” records that Wilma listens to as minerals out and depositing them once she does her housework. The intriguing more to form new rock. Ice in the form truth of the sitcom’s conceit is that, in point of glaciers carries rock great distances, of fact, much of our built environment is wearing it down. Frozen water that has made from rock and the minerals it con- seeped into rocks expands and cracks the tains. The sheetrock that walls our interior rocks from within. The Taihu stone in the spaces is gypsum, the steel and iron that exhibition is a striking record of the pow- make our machines comes from minerals er of water to erode stone. Its convoluted extracted from earth. Window glass, eye- form embodies qualities admired by Chi- glasses and telescope lenses are man-made nese connoisseurs. These include Shou

A Matter Of Course.indd 32 9/10/18 11:47 cousins to naturally forming obsidian. Ligneous. The sculptures are an embod- The cement that paves our sidewalks and iment of the view, prominent in environ- streets, the granite and limestone used mental humanities and eco-theory, that the earth is a living system where humans make our dinnerware and the copper in and nature, life and rock, can no longer be theto clad wires our that buildings, carry electricity the clay fired across to the clearly separated. continent all come from the earth beneath our feet. We extract millions of tons of minerals from the earth annually for the manufacture of the computers, mobile magmaIgneous in rocks the earth’sare born mantle of fire. and They crust. form phones, television sets and other elec- Igneousthrough rocksthe cooling take many and solidification forms, rang- of tronics. More to the point, we ourselves ing from granite and basalt to naturally are, in the words of Vladimir Vernadsky occurring glasses such as obsidian. Any “Walking, talking minerals – Earth’s crust artist working in ceramics must make a in two-legged upright forms”. Calcium and phosphorus build strong bones and - teeth, the most obvious examples of our cess,friend Tony of fire. Marsh While abandons many ceramic himself artists to the “minerality”. Potassium controls the elec- unpredictableseek masterly controlalchemy of of the the firing kiln. proLike trical activity of the heart; sodium stimu- nature herself, Marsh keeps no records lates nerve and muscle function; magne- of his experiments. His “assorted mineral sium supports the countless biochemical reactions that take place in the body on a daily basis. inconcoctions unpredictable when ways fired down and flued the surface become of theunstable vessel. as Thisthey createsmove flow new and topographi combine- Paul Harris’ Igneous Ligneous Inoscula- cal landscapes as combinations of mate- tions evoke an embrace of stones and rials under the action of heat and cooling wood: igneous rocks are paired with ligneous (meaning composed of or related new formations.” Marsh is not unaware to wood) tree stumps. Inosculation is the thatcycles, he slip,is working flow, boil, with collide the very and materials stack in entwining of trees or branches together, that comprise the earth’s crust, and that from the Latin osculare, to provide with he is doing so in a way that surrenders to a mouth or outlet—inosculation is arbo- the volatile dynamic of minerals subjected real kissing. Intimate relations between to extreme heat. stone and wood occur naturally in forms Cara Despain describes her cast con- fossilized through permineralization. It crete forms as “placeholders for the idea such as petrified wood, in which a tree is of landcape”. Although not informed by entwined in the roots of fallen trees and suiseki, the Japanese tradition of viewing incan the also ruins be seenof ancient in the civilizationsstones one finds such as stone appreciation, they can be readily understood in the context of this practice. and ultimately destroy the sculpture and Suiseki are not so much placeholders for architectureAngkor where of ficusthe Khmer trees invade, empire. embrace, Harris’ the landscape as portals to the landscape. Inosculations merge stumps and stones Connoisseurs collect stones that evoke in sculptures where the contours, texture distant mountain ranges, cloud-ringed and grain of the stone and stump match in peaks, rugged shorelines and offshore a visual echo of the verbal rhyme Igneous

islands. Suiseki are typically identified 33

A Matter Of Course.indd 33 9/10/18 11:47 by the place at which they were found. - Enthusiasts can reference an extensive ed pens. The paper is weighted on the library of maps that identify collecting groundend of the and, strings, the wind’s I affix action carefully causes select the sites throughout Japan. Despain, unlike branches and pens to move on the paper the Japanese collectors, leaves her stones leaving its traces. Often, these collabora- in place, bringing concrete castings of tions involved enduring long hours, some- the rocks back to the studio and gal- times 17 or more in a day in the wind lery. Marking the location of the stones effect to complete the drawings.” The that she casts with GPS coordinates so that they can be rediscovered by fellow generated each drawing become the title travelers, Despain invites her audience fordate, the time piece. spent, and type of air flow that to participate in the experience of hiking the Utah desert just as she has. While the Sedimentary rocks are types of rock that are formed by the deposition and subse- may interest the eye to a greater degree quent cementation of that material at the thanstones Despains’ collected humble by suiseki replicas, aficionados they don’t Earth’s surface and within bodies of wa- exhort the viewer to put on her hiking ter. Sedimentation is the collective name shoes, pick up her pack and head out into for processes that cause mineral or organ- the wilderness in the way that Despain’s ic particles (detritus) to settle in place. concrete facsimiles do. Before being deposited, the sediment was A ventifact is a rock that has been abrad- formed by weathering and erosion from ed by wind-driven sand. Depending upon the source area, and then transported to the composition and location of the rock, the place of deposition by water, wind, ice, the force of the winds and the grain of the mass movement or glaciers. Geodes oc- local sand, a ventifact can be a smoothly cur in certain sedimentary rocks and are polished stone with sensuous curves and themselves of sedimentary origin. Geodes a soft luster or a pitted rock with brittle are rocks that contain a cavity lined with points and sharp edges. When ancient crystals or other types of mineral matter. ventifacts are preserved without being The sculptures of Jedediah Caesar have moved or disturbed, they may serve as a often be likened to geodes, which, in the paleo-wind indicators. The wind direction case of his piece in A Matter of Course is at the time the ventifact formed will be especially apt. The compact size and the parallel to grooves or striations cut in the sliced ovoid form give it the momentary rock. Virginia Katz’s wind observation appearance of a mineral specimen. The drawings record its invisible form using irregular and unremarkable exterior of more ephemeral methods and materi- the geode – sometimes called a potato als. “I harness the wind during episodic rock – is here a smooth and speckled periods of strong gusts from two major emu egg. Caesar substitutes the surprise wind events: the Santa Ana conditions of the geode’s crystalline cavity with an or Offshore Flows when the winds are obdurate mystery. “The works present hot, dry, and gusty, originating inland and a conundrum, the image of material re- pushing offshore, and Onshore Flows that lationships that have to be undone to be seen.” The artist uses the term “hypogea” high winds onto coastal areas. To record in reference to the sculptures in this body andoriginate capture from this the phenomenon Pacific Ocean on and paper, force I of work. Hypogea, which literally means apply strings to tree branches and, at the “underground” comes from the Greek

A Matter Of Course.indd 34 9/10/18 11:47 hypo and gaia (goddess of the earth). The paint. In the course of their brief lifetimes term usually refers to an underground they consume and then regurgitate the temple or tomb. Both the geode and colored liquid onto the surface of the Caesar’s untitled sculpture are tombs of a canvas thousands of times thus producing sort. Entombed in the geode is a luminous cave. The shell of Caesar’s sculpture is a points of color. Knuth calculates that he container for a collection of stones sus- the delicately textured fields of miniscule - pended in a matrix of translucent resin. What distinguishes our experiences of 14-dayuses approximately lifespan = 336 45,000 hours. flies 336 per hours paint the geode and the sculpture is what their ing. “1 fly working 24 hours a day over its cutting reveals. The cleaved geode is an a painting is equal to 15,120,000 labor empty tomb. The stone has been rolled multiplied by the 45,000 flies working on away. “He is risen”, Indiana Jones and An- clear case of shared agency. What is not as gelina Jolie have come and gone. Caesar’s apparenthours”. The is theirflyspeck kinship paintings with therepresent viewing a sawn sculpture presents an interior that stones in the exhibition. In a discussion of is “as dense and opaque as the shell, more his creative process with Marc LeBlanc, a picture then portal.” We, the viewers, Chicago gallerist, Knuth and LeBlanc talk stand outside, left to ponder the mystery, about our anthropocentric experience of to read the patterns of the rock and resin time in relation to the two-week life span like tea leaves or oracle bones. might perceive a plant as an inanimate The conundrum that Caesar presents objectof a house in the fly. same They way speculate that we that think a fly of in his sculpture is echoed in the storied mountains (or rocks) as being without exchange between the French philosopher life. Stones, in Chinese tradition, were Roger Caillois and the Surrealist Andre considered to be alive, to possess qi, or Breton about a Mexican jumping bean. vital force, and some of the most highly Caillois wanted to cut open the symbiotic prized stones were valued not simply be- legume and peer in at the worm inside cause they had been sculpted into beau- while Breton preferred to remain ignorant tiful forms by natural forces, but because of the mechanics behind what he saw as they embodied the very energy that ani- a magical thing. In The Writing of Stones mates the universe. We can only imagine Caillois explored the grey area between rocks as animate entities. The brevity of the magical and the natural order of our own life span prevents us from expe- things, or as he put it “the possibility of riencing them as living matter. intelligence without thought, creativity without art, and agency in the absence of Sodium chloride is another of the miner- the (human) agent.” als we extract from the earth that are essential to life. In addition to being valued John Knuth confronts the false binary of for both food seasoning and preservation, nature and culture, sharing agency with - used as a form of currency, a political weaponsalt has religiousand it is asignificance, key ingredient it has of PVCbeen athousands mesh-walled of flies enclosure in the process attached of to creat a based plastics. In the western United blanking his canvas flyspeck into paintings. which he He introduces constructs States ranchers distribute blocks of salt in their pastures to supplement the diet a diet of sugar water mixed with acrylic of their herds. Whit Deschner, a rancher thousands of flies. The insects feed on

A Matter Of Course.indd 35 9/10/18 11:47 in central Oregon, has, for the past twelve More recently, Gerhard Richter wrote years, organized exhibitions of salt licks about his abstract works that “resorting that have been shaped by the tongues to chance amounts to painting like na- of cattle, sheep, deer and other animals. ture”. Richard Turner’s drawings, which Each year in the fall, fellow ranchers he produces by rolling ink and paint-cov- bring their salt licks to Whit for an exhi- ered river rocks back and forth over cold- bition and auction / fundraiser that he press paper hundreds of times, share the - “oscillation between human and non-hu- son’s disease charity. The town feed store man agency” that Gamboni describes. replaceshas organized each rancher’sto benefit contribution a local Parkin with The resultant drawings, which sometimes a fresh salt lick. After the auction some of resemble the skittering traces of nuclear particles in a cloud chamber and at other mantelpiece while others are returned times seem to approximate cross-sections tothe be sculptures auctioned find off thea home next on year the and buyer’s still of rocks, are part of a series titled after the others are retired to the pastures where purported dying words of Hindu mystic they are licked out of existence. and yogi Ramakrishna “I saw everything passing from form to formlessness.” The saltlick sculptures typically resemble the abstract forms of work by Henry The viewing stones seen in A Matter of Moore, Barbara Hepworth or Jean Arp. Course are mounted in carved wood bases There are, however, clearly visible differ- unique to each stone. They are intend- ences between salt blocks that have been ed to present the stone in the optimum licked by cattle and those that sheep have position for viewing. Turner’s ceramic shaped with their tongues. Cattle, with sculptures, which are displayed in recon- their large tongues, create broad, smooth ditioned bases that were carved for long forms. Sheep and deer, as Deschner says, lost scholars’ rocks, are stand-ins for the “are more detail oriented”. They tend disappeared stones. The wooden bases to carve smaller indentations and make are points of departure for the clay sculp- sharper ridges in the blocks. Horses, with tures which are formed, in part, by water. their big teeth, bite large chunks off of Turner subjects the roughed-out wet clay the salt blocks leaving a rough and bro- forms to a stream of water from a garden ken surface behind. The local weather hose, eroding the clay into mountain rang- also plays a part in the shaping of the salt es, islands and mesas. The monochromat- forms. Rain wears down the 50lb licks, ic sculptures are ghosts, doppelgangers, humidity softens them, making them hovering between drawing and sculpture more susceptible to disintegration in situ. inasmuch as they are painted with ink washes like Chinese landscape paintings In his catalogue essay for Structure and of rugged cliffs and plunging gorges. Absence an exhibition of scholar’s rocks and contemporary art at the White Cube Scholars’ rocks are sometimes referred Bermondsey in 2011, Dario Gamboni to as the bones of the earth. As such they states that “The Romantics argued that can be thought of as both the underlying artists were meant to work like nature, structure of the earth, the framework for not after nature - that is to imitate or em- ulate the process rather than the products the skeletal remains of the planet after of natural creation”. lifethe hasflesh gone of Gaia, extinct. the mother The minerals goddess, that and

A Matter Of Course.indd 36 9/10/18 11:47 comprise stones are essential ingredients no respect”. Despite their reputation as a culinary delicacy, snails are thought of as began. Minerals form the matrix in which - theof the living chemical cells of soup our inbones which are life embed first - lenging these stereotypes, their video is ded. After our death(s) these minerals meditative,symbols of slotheven andhypnotic. inefficiency. It creates Chal a return to the earth where they will once slow time zone in the gallery, an invita- again become fundamental elements in tion for viewers to contemplate the alien the generation of new life. Candice Lin’s spectacle. “Some snails contort while Putrefaction is part of a larger installation others remain in their shells. It’s hard to entitled Mountain that is “a consideration of matter in four different stages”. Writ- perhaps? Is it a dog-eat-dog world or, a ing about the piece Lin references ancient playfultell if the dog snails pile? are No lovers single or reality fighters, dom both- mythologies that identify the human body inates. The snails themselves inhabit a liminal space - both soft and hard, barely superhumans or failed gods are torn apart moving, yet so alive”. Spending time with with the earth. In these myths “flawed- the mollusks in Hopkins and Pirie’s video ments of their bodies fall and fossilize, is an opportunity for us to rethink our becomingin fits of rage landscape. or jealousy In plate and thetectonics, frag perspective on snails, to remember that mountains mark the areas where one sur- in other times and in other cultures, such face pushes against another fragment of as ancient India, snails were regarded its lost self, a Platonic pansexual Pangeaic differently. When the Buddha was seek- dream of earthquakes and never enough. ing enlightenment, meditating beneath Their grinding is fraught with a mineral the Bodhi tree, snails crawled out of the desire to change one’s shape, to lose one’s forest, climbed up his body and formed temporary boundaries.” a helmet on his shaven head to protect him from the rays of the blazing sun. The Each component of the installation is iconic rows of snail shell curls that adorn presented as a tableau of objects upon a the Buddha’s head in sculptures and reverse glass painting. Putrefaction is the paintings remind us of this story. - tion of proteins, and the eventual break- A billionth of a second is approximately downfifth stage of the of cohesiveness death. It is the between decomposi tis- the time that it takes for light to travel sues, and the liquefaction of most organs. one foot. The software programs and The imagery painted on the underside of hardware that support the international the glass is inspired by Lin’s study of Jap- - anese kusouzo paintings which depict the cial transactions to occur every second. nine stages of decomposition of the hu- Contemplatingfinancial industry the enable brevity billions of a billionth of finan of man body. Buddhist texts describe them a second is as daunting as pondering the as meditations on mortality intended to magnitude of a billion years. Neither one help one overcome love of the body and to is understandable in terms of our lived free one from carnal desire. activity surging around the planet at in- “Snail mail”, “at a snail’s pace” – the gas- comprehensibleexperience of time. speeds The wavesare a microcosm of fiscal tropods featured in Haley Hopkins and of the waves of mountains thrust up and Alison Pirie’s installation - like the co- ground down over the course of countless ages.

median Rodney Dangerfield, “don’t get 37

A Matter Of Course.indd 37 9/10/18 11:47 In contrast to the epochal eons that the viewing stones in this exhibition repre- sent, our time on this planet is a nanosec- ond. The duration of this exhibition, the length of time that these artworks will survive, the very lives of the artists themselves are all a blink of the eye as it were in the face of the deep time of stone.

A Matter Of Course.indd 38 9/10/18 11:47 California Indian Blanket stone in painted wood base Sedimentary siltstone 25 x 11 x 2 inches Viewing stone from the collection of Thomas S. Elias and Hiromi Nakoji

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A Matter Of Course.indd 41 9/10/18 11:47 Virginia Katz 10-06-08, Off-Shore Flow, 8 Hours, Gold, Copper, Silver, and Bronze, 2008 Metallic Ink on Black Paper 44.5 x 30 inches Pages 40-41: Installation view

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A Matter Of Course.indd 43 9/10/18 11:47 Virginia Katz 3-28-09, On-Shore Flow, 6 Hours, Green and Blue, 2009 Metallic Ink on Black Paper 44.5 x 30 inches

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Candice Lin Putrefaction, 2016 Acrylic on glass, magazine clippings and printed photos, dried bacteria and yeast, living aspergillus oryzae (koji) on preserved plant and fungus, minerals from distillation process, various bottles with tinctures of abortifacient and poisonousvarious materials, plants, pipette, dried rye propolis, flour bronze pessary with and image of silphium 35.5 x 59 x 29.5 inches

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A Matter Of Course.indd 51 9/10/18 11:47 Pages 40-43: Haley Hopkins and Alison Pirie Snail piece, 2018 HD Video Loop 4min., Snail shells Dimensions may vary

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A Matter Of Course.indd 56 9/10/18 11:48 Pages 54-55: John Knuth East Side 36 x 60 inches Acrylic, flyspeckJohn on canvas Knuth West Side 36 x 60 inches Acrylic, flyspeck onPage canvas 56: John Knuth New Gold 48 x 36 inches Acrylic, flyspeck on canvas 57

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A Matter Of Course.indd 59 9/10/18 11:48 tageously, and to obtain more abundant Beside Myself results from his mining.” Georgius Agricola, De Re Metallica, (On by Kylie White the Nature of Metals) 1556 (The English version of De Re Metallica was translated by the son of a blacksmith, mining-engineer-turned-U.S. president prospect of an end.” Herbert Hoover.) -James“We find Hutton, no vestige Theory of a of beginning Earth, 1795 - no These are practical words from a practical man, and it would seem we may have - already, for lack of foresight, obtained too self within the geologic timescale, it may many of the “abundant results” from min- beIf you easier find to it start is difficult with things to orient you your know. ing. Regardless of the moral implications Aside from natural disaster, industry is of Agricola’s words, his point is to inspire most often the point at which human makers, not to warn them. Furthermore, lives and geology intersect. Some familiar it should be made clear that this is, by no instances would be the rush for Creta- means, a moral argument that I am trying to make. Geology is amoral, and in this of pumpjacks drawing up lakes of Pleisto- way it is purely formal. The earth, and ev- ceneceous (1.6 (144 MYA) MYA) oil. gold, The or earth perhaps is a fountain fields erything on it, is a complex arrangement of industry. The bi-product of material of the elements of the periodic table. In extraction is that it cuts windows into ancient worlds. as is the amount of time our species will existterms within of scale, the a geologichuman is timescale. insignificant, As a sculptor, my connection to geology comes from two places. The artist goes into the landscape and 1) I am a material girl, in a material world. observes its forms. The geologist sees the I deal in the mineral kingdom. landscape in process, determining the me- 2) Geology is foundational. The litho- chanical forces which built those forms. In sphere is the ultimate pedestal. It is the doing so they reveal epochs which are far plinth which everything is built upon, and different from the present and much more we should be informed as such. like the future. Through each layer’s rela- The former is what led me here, and the tive position they can graph the existence latter is what keeps me. Knowing the of lifeforms and their repeated annihila- material which makes up this planet tions over the last 540 million years. An sharpens my vision of its forms and the estimated 99% of all species that have forces that build them - the details of its ever lived are said to be extinct. construction. One of geologists’ favorite topics of dis- “There are many arts and sciences of cussion are unconformities. That is to which a miner should not be ignorant. say, a layer of deposition that is missing First there is Philosophy, that he may or misplaced within the timeline. This discern the origin, cause, and nature of represents a break in the geologic re- subterranean things; for then he will be cord, the violent cause of which must able to dig out the veins easily and advan- be determined through the study of the

A Matter Of Course.indd 60 9/10/18 11:48 relationships of surrounding features. To spreading which is thought to be caused solicit an unconformity, to seek the thing by mantle convection... which is thought that is not there to gain insight into what to be caused by residual heat left over is there, is in so many ways the source from Earth’s formation (4500 MYA) under which fuels both the artist and the intense pressure and friction...which is geologist. thought to be due to gravity. The point is, start at the beginning. Observation is step Geology gives a measurable scale to the one. Look deeply at something outside concept of deep time. In learning geologic yourself, follow it further deeper in; so time, we can sympathize with the scale of long as you can stare into the abyss, how- a mountain. If you occupy yourself with ever dark it may be, and want to know the forces behind geologic change, at this everything while accepting that, as the point anything topical should evaporate name describes, it is bottomless. from your mind. Comparatively, it reveals manufacture to be the erector set that it -- really is. This is certainly not a critique - versus geomorphology, but rather objec- lished on the occasion of the exhibition tivelyon the points significance out the of purely human formal achievement differ- DeepBeside Time, Myself organized was written by the and author first pub and ences between the two. In knowing deep presented at the gallery Moskowitz Bayse time, a geologist’s concept, artists can from July 14 through August 18, 2018. legitimately grasp scale, our most fundamental tool, and build accordingly.

No longer do the arts advance simultane- ously with science and technology. We have gone our separate ways. Lacking philosophical roots, science rolls con- stantly forward, gathering loads of data but hardly any moss. Art, always the product of narcissism, seems to have lost

- verseits final this shred great of tragedy objectivity is for and artists gazes and scientistsonly at reflections to recognize of itself. that weOne both way deal to re in material phenomena. We both depend on observation and formal relationships in order to come to our respective conclusions - conclusions which, if sharp enough, can cut through the shadowy ether of morality.

Abyssal plains are the least explored of all Earth’s topographies, make up over 50% of the earth’s crust, and are con- Pages 58-59: Installation view: stantly formed and destroyed by seafloor 61

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A Matter Of Course.indd 62 9/10/18 11:48 Tony Marsh Crucible 1, 2017 Ceramic 14 x 14 x 12 inches

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A Matter Of Course.indd 64 9/10/18 11:48 Tony Marsh Crucible 2, 2017 Ceramic 14 x 14 x 12 inches

A Matter Of Course.indd 65 9/10/18 11:48 Cole Sternberg a quick dive to the sea, 2017 Mixed media on linen 72 x 80 inches

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A Matter Of Course.indd 67 9/10/18 11:48 Cole Sternberg trails through the interior: fall, 2017 mixed media on linen 74 x 82 inches

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A Matter Of Course.indd 70 9/10/18 11:48 Richard Turner 4 Sculptures (Untitled), 2017-18 Ceramic, wood, India ink sizes vary 12 Ink drawings In My End is My Beginning, 2017-18 India ink and tempera Each 30 x 22 inches

A Matter Of Course.indd 71 9/10/18 11:48 Richard Turner In My End is My Beginning #22, 2017-18 India ink and tempera 30 x 22 inches

A Matter Of Course.indd 72 9/10/18 11:48 Richard Turner In My End is My Beginning #16, 2017-18 India ink and tempera 30 x 22 inches

A Matter Of Course.indd 73 9/10/18 11:48 Richard Turner Untitled sculpture, 2018 Ceramic, wood, India ink 10 x 5 x 1.5 inches

A Matter Of Course.indd 74 9/10/18 11:48 Richard Turner Untitled sculpture, 2018 Ceramic, wood, India ink 7 x 7 x 8 inches

A Matter Of Course.indd 75 9/10/18 11:48 Richard Turner Untitled sculpture, 2018 Ceramic, wood, India ink 16 x 9 x 6 inches

A Matter Of Course.indd 76 9/10/18 11:48 Richard Turner Untitled sculpture, 2018 Ceramic, wood, India ink 12 x 5.5 x 4.5 inches

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A Matter Of Course.indd 79 9/10/18 11:48 ARTIST BIOGRAPHIES

Jedediah Cesar

Jedediah Caesar lives and works in Los Angeles the Museum of Contemporary Art Detroit, Mi, and received his MFA from The University of “We Were Here,” at the Orange County Museum California, Los Angeles. His work has been of Art, Newport Beach, CA, “Surface Matters,” at featured in solo exhibitions at the Oakland the Museum of Fine Arts, Boston, MA, the 2008 Museum of California, Oakland, CA, LAXART, Whitney Biennial, Whitney Museum of American Los Angeles, CA, DeCordova Museum, Boston, Art, NY; “Abstract America: New Painting and the Museum of Fine Arts, Boston, MA, The Sculpture”, Saatchi Gallery, London; “Thing”, Blanton Museum of Art, Austin, TX. Notable UCLA Hammer Museum, Los Angeles. group exhibitions include “99 Cents or Less,” at

Whit Deschner Whit Deschner grew up in Western Washington The licks are then auctioned off as art. Selling and graduated from the Evergreen State for as much as $2000 a block the event has College although he is still unsure of his degree. earned over $100,000 for Oregon Health Science Administrations grudgingly admits that he University, for Parkinson’s research. The event was featured on National Public Radio’s In 1982, driving through Eastern Oregon, he stoppeddid get one. for Hea 10-cent commercial cup of fished coffee for in Baker21 years. City and his pieces have been included in adventure and never left. In 2000 he was diagnosed with anthologiesWeekend Edition. with names Whit has such published as Buzz Aldrin,five books Parkinson ’s disease. A few years later he created Dave Barry, E.B.White, Mark Twain and Bill The Great Salt Lick an annual event auction and Bryson. His book, Travels with a Kayak won the Benjamin Franklin award for humor. their most artistically animal-licked salt block. Thesebenefit are for judged Parkinson’s and given disease: prize Ranchers money donated submit by the town’s merchants.

Cara Despain

Cara Despain was born in Salt Lake City, Utah she was the Art Director for the feature length and currently lives in Miami, Florida and works between the two. In 2012, she was selected for Sundance Film Festival in 2015, and recently the Salt Lake City Mayor’s Award in the visual completedfilm The Strongest production Man as that Art premiered Director on at another the arts, and in 2016 she was selected for the South Florida Consortium Fellowship. Her work is She is a founding board member of the Davey included in the State of Utah art collection, as Foundation,film A Name aWithout grant-giving a Place foundation (forthcoming). that gives well as the Rubell Family Collection. Recent exhibitions include Video Sur at Palais de Tokyo, She is also an art writer who has been published Paris; Fair. at Brickell City Center, Miami; Cryin’ ingrants various to emerging magazines, filmmakers and journals and including playwrights. The Out Loud at the Center for Contemporary Arts Miami Rail and Site 95. A short documentary Santa Fe, Fringe Projects, Miami, Slow Burn at about her work recently aired on Art Loft, WPBT Spinello Projects, Miami; and No Man’s Land and PBS and screened at the Miami International at Rubell Family Collection, Miami. In 2014 Film Festival in 2016.

A Matter Of Course.indd 80 9/10/18 11:48 Paul A. Harris

Paul A. Harris maintains a rock garden and theory journal SubStance, and served as blog called The Petriverse of Pierre Jardin, President of the International Society for the which informs his research, artwork and Study of Time 2004 – 2013. He has created writings about stone. He designed The Garden recent work in collaboration with jazz musician of Slow Time and (with Richard Turner) The David Ornette Cherry, author David Mitchell, Displacement Garden at Loyola Marymount and artist Richard Turner, and is working with University, and has exhibited work at the Turner and Thomas Elias on a book project, National Gallery of Denmark and the Arizona Viewing Stones: Contemporary Approaches to State Art Museum Project Space. He is Professor Display. of English at LMU, co-editor of the literary

Haley Hopkins

Haley Hopkins is an interdisciplinary artist in 2016. Hopkins received the Presidential currently based in Los Angeles, California. Scholarship, Chapman Grant, Art Talent Her practice includes studio work, writing, Scholarship and the Coe Family Endowment researching, and both individual and Award for artistic talent all four years at collaborative projects. Her studio practice is Chapman University. She graduated Magna Cum concerned with the exploration and inversion Laude with a BFA in Studio Art and a Minor in of power dynamics, binaries, and linguistic The University Honors Program. Hopkins’s work constructions through the use of performance, has been exhibited in group shows at Chapman video, installation, sculpture and drawing. University and in Los Angeles. She was born in Portland, Oregon in 1996 and studied at Chapman University in Orange, California from 2014-2018 as well as Anglo- American University in Prague, Czech Republic

Virginia Katz

Virginia Katz is an artist who lives in Irvine, in Europe and New York and in 2015; she was California. Katz has had several solo exhibitions an award recipient of Seen and Heard Project, with Ruth Bachofner Gallery in Santa Monica an anonymously funded initiative that bestows as well as solo exhibitions with Mainframe grant recognition without application to Los Gallery in Seattle, Washington, Jancar Gallery Angeles-based women artists. In fall 2018, in in Los Angeles, d.e.n. contemporary in Culver addition to exhibiting in A Matter of Course at City and the Irvine Fine Arts Center in Irvine, Chapman University, Guggenheim Gallery she CA. She has exhibited in group exhibitions in will also exhibit in Geo.Ontological at Cerritos galleries, Museums, Colleges and Universities College. Since 2009, in addition to making art, in Southern California and has also shown in she is a Moderator and Organizer of bi-monthly New York, Europe, and Asia. She has exhibited Art Discussions at Eastside International a her work at the Pasadena Museum of California residency and gallery in downtown Los Angeles. Art, The Riverside Art Museum, and the Laguna She received her Master of Fine Arts degree Art Museum. Her work has been reviewed from California State University, Long Beach in in The Los Angeles Times, Art in America 2004. and LA Weekly among many others and is in collections in California, New York, Europe, and Asia. She has participated in residencies

A Matter Of Course.indd 81 9/10/18 11:48 Candice Lin Candice Lin is an interdisciplinary artist who Long Island City, New York (2017), among works with installation, drawing, video, and others. She is the recipient of several residencies, living materials and processes, such as mold, grants, and fellowships, including the Davidoff mushrooms, bacteria, fermentation, and stains. Artist Residency (2018), Louis Comfort Tiffany Lin has had recent solo exhibitions at Portikus, Award (2017), California Community Foundation Frankfurt; Bétonsalon, Paris; and Gasworks, Award (2014), Fine Arts Work Center Residency London, as well as group exhibitions at the (2012) and Smithsonian Artist Research Hammer Museum (2018), LA; Moderna Museet, Fellowship (2009). Stockholm (2017); New Museum, New York (2017); SculptureCenter,

Tony Marsh

Following his BFA Tony Marsh spent 3 years Ceramic Arts. Marsh was additionally named in Mashiko, Japan 1978-81, at the workshop of a United States Artist Fellow for 2018. You Mingei Master Potter Tatsuzo Shimaoka who went on to become designated a “Living National and permanent museum collections around Treasure” in 1996. He completed his MFA at thewill world, find Marsh’s included ceramic among art them; in many Metropolitan private Alfred University in 1988. Tony Marsh lives and Museum of Art and the MAD Museum of Art in works in Long Beach, California where he was New York, the Los Angeles County Museum of the Program Chair of Ceramic Arts for over 25 Art, the Oakland Museum of Art, the Gardiner years at California State University, Long Beach. Museum of Art, Toronto, The Museum of Fine Arts Houston. Center for Contemporary Ceramics at CSULB He was recently named the first Director of the

John Knuth

John Knuth received his MFA from the University Nicodim, LA, and has shown in numerous solo of Southern California and a BFA from the and group shows, among others Steve Turner University of Minnesota. Currently Knuth’s Gallery, Brand New Gallery, The Armory Center solo show The Distorted Landscape is on view for the Arts, 5 Car Garage, Andrew Rafacz at Marie Kirkegaard Gallery in Copenhagen, Gallery, and David B. Smith Gallery. His work has Denmark. Knuth’s work will be featured in an been in and featured in Frieze, Flash Art, Los upcoming show at Hollis Tagart Gallery in NYC. Angeles Times, The New York Times T Magazine, He recently curated the show, Bio Perversity at MOCA TV and Hyperallergic.

Alison Pirie

Alison Pirie’s performative video works Room, Los Angeles (June 2018) and group and installations explore the history and shows at Brooklyn Art Cluster (2018), Chapman construction of contemporary discourse on University Guggenheim Gallery (2014-2018), female sexuality and femininity. Using humor The Situation Room, Los Angeles (2015) and Art and absurdity she reconstructs traditional Basel Miami Beach “Fair. Play” Femmes Video western narratives and feminine tropes, Art Festival in Miami, FL (2017). She will be subverts the male gaze and reclaims patriarchal attending Con Artist Collective’s residency this language. Pirie earned her BFA in Studio Art fall and the Vermont Studio Center in January from Chapman University (2018). Her work has 2019. been exhibited in a solo show at The Situation

A Matter Of Course.indd 82 9/10/18 11:48 Cole Sternberg

Cole Sternberg was born in Richmond, Virginia. He is interested in the intersection between He lives and works in Los Angeles and practices humanity and humankind and how their lack in a range of formats including painting, of congruity hinders social progression and installation, video, and writing. Series of his development. Sternberg’s pieces are held by work have focused on a variety of social issues, major collections throughout the world, such as from current human rights activism and its the Los Angeles County Museum of Art (LACMA), relationship to the law, to the environment, to the Pérez Art Museum Miami (PAMM), the El the media and concepts of content overload. The Segundo Museum of Art (ESMoA), the American works tend to be subtle or subversive in nature, University Museum (AUM) and Deutsche driven by elegant visual concepts and poetry. Telekom.

Thomas S. Elias

Thomas S. Elias is Chairman of the Viewing the Chinese Scholar’s Rock (2014). He and his Stone Association of North America, primarily an wife Hiromi have an extensive international internet based educational organization devoted collection of viewing stones with an emphasis to the promotion of viewing stone appreciation on Chinese and Japanese rocks. Dr. Elias was globally. Elias also serves as the Honorary Vice the Director of the U.S. National Arboretum Chairman of the View Stone Association of China in Washington D.C. for sixteen years before and the Guangdong View Stone Association. He devoting full time to the study viewing stone is the author or co-author of three books on appreciation. He is the recipient of many awards stones—Chrysanthemum Stones, The Story of including the Order of the Rising Sun with Gold Stone Flowers (2010), Viewing Stones of North Leaves and Rosette from the Emperor of Japan. America (2014), and Spirit Stones, The Art of

Richard Turner

Artist/curator Richard Turner is a Professor death and dying, clown painting, caricature, Emeritus at Chapman University where he unrealized public art projects and the aftermath taught contemporary Asian art history and of the Vietnam war. He has worked as a public studio art. He lived in Saigon, Vietnam from 1959 artist for over three decades doing projects in -1961. He studied Chinese painting and language the western United States ranging from water in Taipei in 1963-1964 and Indian miniature treatment plants and light rail to memorials and painting in Jaipur, Rajasthan in 1967 -1968 sacred art. For the past twenty years his studio while on a Fulbright scholarship. As Director of work has been sculptures and drawings based Chapman University’s Guggenheim Gallery, he on Chinese scholars’ rocks and Japanese suiseki. curated over one hundred exhibitions. These He has also curated two exhibitions of viewing included solo exhibitions by Manuel Ocampo, Tim Hawkinson, Roger Herman, Georganne A selection of his studio work, public art and Deen, Maria Fernanda Cardoza and Patty curatorialstones displayed projects alongside can be viewed works onof fine his websiteart. Wickman as well as group exhibitions exploring turnerprojects.com. diverse topics such as the contemporary garden,

A Matter Of Course.indd 83 9/10/18 11:48 Department of Art Mission Statement The Mission of the Department of Art at Chapman University is to offer a comprehensive education that develops the technical, perceptual, theoretical, historical and critical expertise needed for successful careers in visual art, graphic design and art history. The department supports artists, designers, and scholars within a rigorous liberal arts environment that enriches the human mind and spirit. We foster the artistic and academic growth necessary to encourage lifelong study and practice of the arts through a curriculum that contains strong foundation and history components as a basis for continued innovations in contemporary practice and scholarship.

Guggenheim Gallery Mission Statement The department of art will provide provocative exhibitions and educational programming that provide a local connection to the national and international dialogue about contemporary art and provide a framework for an interchange between artists, scholars, students and the community at large. While the exhibitions feature contemporary art, they often address

the Chapman education. other disciplines and societal issues in general. Integrated into the curriculum, these programs contribute significantly to

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