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Alicia Mccarthy
Alicia McCarthy The Wonderful Weave That Binds Us November 13, 2019 Interview by Sasha Bogojev and portrait by Delon Isaacs This year, as we celebrate our 25th anniversary, Juxtapoz is honored to sit down and talk with a Bay Area artist who represented the scene surrounding the magazine when it was founded. Back in the 1990s, San Francisco was the mecca for skateboarding kids around the world, but also a vibrant underground art hub, spreading a colorful, contagious vibe around the world through zines, music and occasional features in print. The immediacy of the burgeoning scene connected with other rebellious youth cultures, creating a unique language of punks, surfers, and graffiti outlaws hanging out in the Mission that marked and influenced generations way beyond the Bay Area. Certainly among those artists is Alicia McCarthy, whose work fuses the honest energy of the scene. Folk, graffiti, punk, and abstraction all weave into a labyrinth of loose lines, unexpected visuals and spontaneous personal marks, and the legacy of the Mission School remains a model for many emerging creatives. Meeting Alicia at the opening of her solo show with Copenhagen's V1 Gallery back in 2018 and having the opportunity to huddle together at the opening of her debut solo show with Brussels' Alice Gallery earlier in 2019 was like being granted access to a documentarian of that time and place. While I had a massive appreciation for her work for the reasons cited, as well as our mutual interests, this conversation revealed a whole new dimension of meanings behind her captivating colorful weaves. -
ISSUE 10 - Proving the Power of Art and Artists Pg.16 - Magnet for Controversy VOL.10 310.665.6800 / OTIS.EDU Pg.20 09 14 22 28
OTIS COLLEGE OF ART AND DESIGN MAGAZINE 310.665.6800 / OTIS.EDU in this issue: Non-Profit Org U.S. Postage Otis College of Art and Design PAID Spring 2011 No Finish Line 9045 Lincoln Boulevard, Los Angeles, California 90045 Los Angeles, CA Permit No. 427 pg.10 ISSUE 10 - Proving the Power of Art and Artists pg.16 - Magnet for Controversy VOL.10 310.665.6800 / OTIS.EDU pg.20 09 14 22 28 A Foundation for the Future This issue of OMAG highlights the Foundation connected. Through the Foundation Integrated Otis prepares diverse students of Program, a beloved first-year educational Learning course, freshmen work with an art and design to enrich our world VOL.10 IN THIS ISSUE: SPRING 2011 experience that generations of Otis alumni have external, real world “site partner.” The site- through their creativity, their skill, credited for much of their success and penchant partner project focuses on sustainability and and their vision. for lifelong learning. Otis is the only college of the environment, and embodies another Foundation Development art and design on the West Coast that offers a tenet of Foundation: Knowledge carries with Founded in 1918, Otis is L.A.’s first 02 24 full Foundation Year curriculum. The program is it a responsibility to use it mindfully within independent professional school of Makers + Thinkers Mei-Lee and the Art of Legacy also unique in its approach to preparing students the community. visual arts. Otis’ 1200 students pursue for the competitive, fast-paced 21st century while Students share their first-year engagement BFA degrees in advertising design, continuing to honor time-tested fundamentals. -
Radio Transmission Electricity and Surrealist Art in 1950S and '60S San
Journal of Surrealism and the Americas 9:1 (2016), 40-61 40 Radio Transmission Electricity and Surrealist Art in 1950s and ‘60s San Francisco R. Bruce Elder Ryerson University Among the most erudite of the San Francisco Renaissance writers was the poet and Zen Buddhist priest Philip Whalen (1923–2002). In “‘Goldberry is Waiting’; Or, P.W., His Magic Education As A Poet,” Whalen remarks, I saw that poetry didn’t belong to me, it wasn’t my province; it was older and larger and more powerful than I, and it would exist beyond my life-span. And it was, in turn, only one of the means of communicating with those worlds of imagination and vision and magical and religious knowledge which all painters and musicians and inventors and saints and shamans and lunatics and yogis and dope fiends and novelists heard and saw and ‘tuned in’ on. Poetry was not a communication from ME to ALL THOSE OTHERS, but from the invisible magical worlds to me . everybody else, ALL THOSE OTHERS.1 The manner of writing is familiar: it is peculiar to the San Francisco Renaissance, but the ideas expounded are common enough: that art mediates between a higher realm of pure spirituality and consensus reality is a hallmark of theopoetics of any stripe. Likewise, Whalen’s claim that art conveys a magical and religious experience that “all painters and musicians and inventors and saints and shamans and lunatics and yogis and dope fiends and novelists . ‘turned in’ on” is characteristic of the San Francisco Renaissance in its rhetorical manner, but in its substance the assertion could have been made by vanguard artists of diverse allegiances (a fact that suggests much about the prevalence of theopoetics in oppositional poetics). -
Lava Thomas [email protected] B
Lava Thomas www.lavathomas.com [email protected] b. Los Angeles, CA Selected Solo Exhibitions 2018 Mugshot Portraits: Women of the Montgomery Bus Boycott, Rena Bransten Gallery, San Francisco, CA 2015 Looking Back and Seeing Now, Berkeley Art Center, Berkeley, CA 2014 Lava Thomas: Beyond, Museum of the African Diaspora, San Francisco, CA Selected Group Exhibitions 2020 New Time: Art and Feminisms in the 21st Century, Berkeley Art Museum & Pacific Film Archive, Berkeley, CA The Black Index, Leubsdorf Gallery, Hunter College, New York City, NY UNTITLED, ART, Rena Bransten Gallery, San Francisco, CA 2019 UNTITLED, ART, Rena Bransten Gallery, Miami, FL To Reflect Us, Rena Bransten Gallery, San Francisco, CA Adjust Yo’ Eyes For This Darkness, Ashara Ekundayo Gallery, Oakland, CA The Outwin 2019: American Portraiture Today, National Portrait Gallery, Washington, DC Women to Watch 2020 Nominee, Surfacing Histories, Sculpting Memories, Hubble Galleries, California College of the Arts, San Francisco, CA Plumb Line: Charles White and the Contemporary, California African American Museum, Los Angeles, CA Personal to Political: Celebrating the African American Artists of Paulson Fontaine Press, Las Cruces Museum of Art, NM Personal to Political: Celebrating the African American Artists of Paulson Fontaine Press, Gallery 360, Northeastern University, Boston, MA Spring Auction Exhibition, Kala Art Institute, Berkeley, CA 2018 PULSE Miami Beach, Rena Bransten Gallery, Miami, FL My Silences Had Not Protected Me, For Freedoms and Fort Gansevoort, New York, NY EXPO Chicago, Rena Bransten Gallery, Chicago, IL Pretty Big Things, Walter Maciel Gallery, Los Angeles, CA Personal to Political: Celebrating the African American Artists of Paulson Fontaine Press, Krasl Art Center, St. -
Poetry Project Newsletter
THE POETRY PROJECT NEWSLETTER www.poetryproject.org APR/MAY 10 #223 LETTERS & ANNOUNCEMENTS FEATURE PERFORMANCE REVIEWS KARINNE KEITHLEY & SARA JANE STONER REVIEW LEAR JAMES COPELAND REVIEWS A THOUGHT ABOUT RAYA BRENDA COULTAS REVIEWS RED NOIR KEN L. WALKER INTERVIEWS CECILIA VICUÑA POEMS DEANNA FERGUSON CALENDAR BRANDON BROWN REVIEWS AARON KUNIN, LAUREN RUSSELL, JOSEPH MASSEY & LAUREN LEVIN TIM PETERSON REVIEWS JENNIFER MOXLEY DAVID PERRY REVIEWS STEVE CAREY JULIAN BROLASKI REVIEWS NATHANAËL (NATHALIE) STEPHENS BILL MOHR REVIEWS ALAN BERNHEIMER DOUGLAS PICCINNINI REVIEWS GRAHAM FOUST ERICA KAUFMAN REVIEWS MAGDALENA ZURAWSKI MAXWELL HELLER REVIEWS THE KENNING ANTHOLOGY OF POETS THEATER ROBERT DEWHURST REVIEWS BRUCE BOONE $5? 02 APR/MAY 10 #223 THE POETRY PROJECT NEWSLETTER NEWSLETTER EDITOR: Corina Copp DISTRIBUTION: Small Press Distribution, 1341 Seventh St., Berkeley, CA 94710 The Poetry Project, Ltd. Staff ARTISTIC DIRECTOR: Stacy Szymaszek PROGRAM COORDINATOR: Corrine Fitzpatrick PROGRAM ASSISTANT: Arlo Quint MONDAY NIGHT COORDINATOR: Dustin Williamson MONDAY NIGHT TALK SERIES COORDINATOR: Arlo Quint WEDNESDAY NIGHT COORDINATOR: Stacy Szymaszek FRIDAY NIGHT COORDINATORS: Nicole Wallace & Edward Hopely SOUND TECHNICIAN: David Vogen BOOKKEEPER: Stephen Rosenthal ARCHIVIST: Will Edmiston BOX OFFICE: Courtney Frederick, Kelly Ginger, Nicole Wallace INTERNS: Sara Akant, Jason Jiang, Nina Freeman VOLUNTEERS: Jim Behrle, Elizabeth Block, Paco Cathcart, Vanessa Garver, Erica Kaufman, Christine Kelly, Derek Kroessler, Ace McNamara, Nicholas Morrow, Christa Quint, Lauren Russell, Thomas Seeley, Logan Strenchock, Erica Wessmann, Alice Whitwham The Poetry Project Newsletter is published four times a year and mailed free of charge to members of and contributors to the Poetry Project. Subscriptions are available for $25/year domestic, $45/year international. Checks should be made payable to The Poetry Project, St. -
Bruce Conner (1933 – 2008)
BRUCE CONNER (1933 – 2008) BORN: McPherson, Kansas EDUCATION: 1956 B.F.A., Nebraska University 1956 Brooklyn Museum Art School 1957 University of Colorado SOLO EXHIBITIONS: 2012 Gallery Paule Anglim, San Francisco, CA Bruce Conner and the Primal Scene of Punk Rock, MCA Denver, Denver, CO 2011 Bruce Conner: An Anonymous Memorial, American University, Katzen Arts Center, Washington D.C. Bruce Conner: Falling Leaves: An Anonymous Memorial, Paula Cooper Gallery, New York, NY 2010 Bruce Conner: 1970’s, Kunstalle Wien, Vienna, Austria (travelled to Kunsthalle Zurich, Switzerland) I am Not Bruce Conner, Ursula Blickle Foundation, Krachtal, Germany Bruce Conner, Inova/Kenilworth Institute, University of Wisonsin, Milwaukee, Peck School of the Arts 4 ½, Creative Time, New York, NY Long Play: Bruce Conner and the Singles Collection, SFMOMA, San Francisco The Late Bruce Conner, Susan Inglett Gallery, New York, NY 2009 Bruce Conner: Discovered, Gallery Paule Anglim, San Francisco, CA Bruce Conner in the 1970s, Michael Kohn Gallery, Los Angeles, CA Intelligent Design: Untitled Lithographs 1970-1971, Milwaukee Art Museum, Milwaukee, WI 2008 Gallery Paule Anglim, San Francisco, CA Applause, Miyake Fine Art, Tokyo, Japan Mabuhay Gardens, UC Berkeley Art Musuem, Berkeley, CA 2007 Bruce Conner, Susan Inglett Gallery, New York, NY Gallery Paule Anglim, San Francisco, CA Michael Kohn Gallery, Los Angeles, CA 2006 Bruce Conner Sheldon Memorial art Gallery, Lincoln, NE 2005 After Conner: Anonymous, Anonymouse and Emily Feather, Katzen Art Center Museum, American -
Agenda Civic Arts Commission Public Art Subcommittee Monday, October 5, 2020 at 1 P.M
Civic Arts Commission Office of Economic Development Agenda Civic Arts Commission Public Art Subcommittee Monday, October 5, 2020 at 1 p.m. PUBLIC ADVISORY: THIS MEETING WILL BE CONDUCTED EXCLUSIVELY THROUGH VIDEOCONFERENCE AND TELECONFERENCE Pursuant to Section 3 of Executive Order N-29-20, issued by Governor Newsom on March 17, 2020, this meeting of the Civic Arts Commission will be conducted exclusively through teleconference and Zoom videoconference. Please be advised that pursuant to the Executive Order and the Shelter-in-Place Order, and to ensure the health and safety of the public by limiting human contact that could spread the COVID-19 virus, there will not be a physical meeting location available. To access the meeting remotely: Join from a PC, Mac, iPad, iPhone, or Android device: Please use this URL https://us02web.zoom.us/j/83392008428. If you do not wish for your name to appear on the screen, then use the drop down menu and click on "rename" to rename yourself to be anonymous. To request to speak, use the “raise hand” icon by rolling over the bottom of the screen. To join by phone: Dial 1-669-900-9128 and enter Meeting ID: 833 9200 8428. If you wish to comment during the public comment portion of the agenda, Press *9 and wait to be recognized by the Chair. To submit an e-mail comment during the meeting to be read aloud during public comment, email [email protected] with the Subject Line in this format: “PUBLIC COMMENT ITEM ##.” Please observe a 150 word limit. Time limits on public comments will apply. -
Saints of Hysteria a Half-Century of Collaborative American Poetry Edited by Denise Duhamel, Maureen Seaton & David Trinidad
Saints of Hysteria A Half-Century of Collaborative American Poetry Edited by Denise Duhamel, Maureen Seaton & David Trinidad Saints of Hysteria A Half-Century of Collaborative American Poetry Edited by Denise Duhamel, Maureen Seaton & David Trinidad Soft Skull Press Brooklyn, NY 2007 Contents Denise Duhamel, Maureen Seaton & David Trinidad i Introduction Charles Henri Ford et al. International Chainpoem 1 Neal Cassady, Allen Ginsberg & Jack Kerouac Pull My Daisy 3 Copyright © 2007 by Denise Duhamel, Maureen Seaton & David Trinidad Jack Kerouac & Lew Welch Masterpiece 5 Cover art: Good’n Fruity Madonna © 1968 Joe Brainard John Ashbery & Kenneth Koch Used by permission of the Estate of Joe Brainard. A Postcard to Popeye 7 Crone Rhapsody 9 Credits & acknowledgments for the poems begin on page 389. Jane Freilicher & Kenneth Koch The Car 12 Soft Skull project editor & book designer: Shanna Compton Bill Berkson & Frank O’Hara St. Bridget’s Neighborhood 13 A note on the text: Because the poems in this anthology were created over seven decades Song Heard Around St. Bridget’s 16 by more than 200 authors, certain idiosyncrasies of style, orthography, and form St. Bridget’s Efficacy 17 have been preserved in order to present the works as their authors intended. These Reverdy 19 variations are characteristic textural effects of the collaborative process Bill Berkson, Michael Brownstein & Ron Padgett and should not be interpreted as errors. Waves of Particles 21 Ron Padgett & James Schuyler Soft Skull Press Within the Dome 22 55 Washington Street -
Mcdowell Title Page
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title House Work: Domesticity, Belonging, and Salvage in the Art of Jess, 1955-1991 Permalink https://escholarship.org/uc/item/5mf693nb Author McDowell, Tara Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California House Work: Domesticity, Belonging, and Salvage in the Art of Jess, 1955-1991 By Tara Cooke McDowell A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Emerita Anne M. Wagner, Chair Professor Emeritus T.J. Clark Professor Emerita Kaja Silverman Spring 2013 Abstract House Work: Domesticity, Belonging, and Salvage in the Art of Jess, 1955-1991 by Tara McDowell Doctor of Philosophy in History of Art University of California, Berkeley Professor Emerita Anne M. Wagner, Chair This dissertation examines the work of the San Francisco-based artist Jess (1923-2004). Jess’s multimedia and cross-disciplinary practice, which takes the form of collage, assemblage, drawing, painting, film, illustration, and poetry, offers a perspective from which to consider a matrix of issues integral to the American postwar period. These include domestic space and labor; alternative family structures; myth, rationalism, and excess; and the salvage and use of images in the atomic age. The dissertation has a second protagonist, Robert Duncan (1919-1988), preeminent American poet and Jess’s partner and primary interlocutor for nearly forty years. Duncan and Jess built a household and a world together that transgressed boundaries between poetry and painting, past and present, and acknowledged the limits and possibilities of living and making daily. -
HUNG LIU BORN: 1948 Changchun
HUNG LIU BORN: 1948 Changchun, China EDUCATION: 1986 MFA in Visual Arts, University of California, San Diego, La Jolla, California 1981 Graduate Student (MFA equivalent) Mural Painting, Central Academy of Fine Art, Beijing, China 1975 BFA in Education, Beijing Teachers College, Beijing, China ACADEMIC POSITIONS: 2020-present San Francisco Museum of Modern Art Artist Trustee, Board of Trustees 2014-present Professor Emeritus, Mills College, Oakland, California 2001-2014 Professor of Art, Mills College, Oakland, California 1995-2001 Associate Professor of Art, Mills College, Oakland, California 1990-1995 Assistant Professor of Art, Mills College, Oakland, California 1989-1990 Assistant Professor of Art, University of North Texas, Denton, Texas 1987 Adjunct Professor, Chinese Art History, University of Texas, Arlington, Texas 1981-1984 Professor of Art, Central Academy of Fine Art, Beijing, China SELECTED GRANTS, AWARDS AND PUBLIC PROJECTS: 2018 Inaugural Artist Awards, Berkeley Art Center, Berkeley, CA, 2018 2017 City of Berkeley Proclamation for Hung Liu, Berkeley City Hall, Berkeley, CA, 2017 2016 The Distinguished Women Artists, Fresno Art Museum, Fresno, California 2011 SGC International Award for Lifetime Achievement in Printmaking 2009 UCSD Alumni Association, 50th Anniversary 100 Influential Alumni 2008 Honor Award for Design, US General Services Administration for the San Francisco Federal Building 2008 Take Off, Public Commission for the International Terminal at San Francisco International Airport 2006 Going Away, Coming Home, Public Commission for Terminal 2 Window Project, Oakland International Airport, Oakland, California. Commission consists of a 160 foot glass panel with etched imagery along a terminal walkway. 2000 Outstanding Alumna Award, University of California, San Diego, La Jolla, California 1999 Joan and Robert Danforth Distinguished Professorship in the Arts Endowed Chair, Mills College, Oakland, Cailfornia 1998 The Joan Mitchell Foundation, Inc. -
A Solo Exhibition by Los Angeles Based Artist, Ruby Neri
David Kordansky Gallery is pleased to present, This is me, is that you? a solo exhibition by Los Angeles based artist, Ruby Neri. The opening reception will be held on Saturday, June 20th from 6 to 9pm and the exhibition will be on view through August 8, 2009. Neri’s works are executed in ceramic, plaster and paint. They depict women, men, portraits of lovers, horses and landscape in a bold and expressionistic fashion. Born in the seventies into the collegial environment of artists in San Francisco, Ruby Neri’s initial influences were the painters and ceramicists closely associated with her father, the Bay Area Figurative sculptor, Manuel Neri. Her works have steadily built upon these early influences to reflect her interest in an increasingly wide variety of visual sources: American Folk Artists such as Edgar Tolson, early twentieth century German Expressionism such as Ernst Ludwig Kirchner, and mid-century modern European sculptors such as Alberto Giacometti and Marino Marini. Accordingly, her paintings and sculptures are marked by a commitment to figurative forms that are modeled expressively by hand and animated by the application of unabashed colors, decorative patterning, and incised painted lines. Suggestive social groupings of men and women alongside or riding on horses, stand and sit naked— not nude; the figures are confrontational in pose and spirit. They recall Greek Kouroi, sculptures of unclothed young men striding forward. They are defiant and proud as active subjects, not passive artists’ models. This energy is heightened by Neri’s delight and involvement in an intuitive act of making. Handfuls of plaster added to an armature and built up over time are evident in the larger sculptures, which she also carves away in some places, a process that provides the figures with their own strong physical materiality. -
Robert Whyte Oral History Transcript
i San Francisco Museum of Modern Art Regional Oral History Office 75th Anniversary The Bancroft Library Oral History Project University of California, Berkeley SFMOMA 75th Anniversary: ROBERT WHYTE SFMOMA Staff, 1967-1987 Supervisor of Education, 1967- Director of Education, 1980- Interviews conducted by Lisa Rubens in 2006—2007 Copyright © 2008 by San Francisco Museum of Modern Art Funding for the Oral History Project provided in part by Koret Foundation. ii Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Robert Whyte, dated May 18, 2008. This manuscript is made available for research purposes.