Bernice Bing Papers M2651
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Somarts 40Th Anniversary Exhibition July 18, 2019
Building the Building : SOMArts 40th Anniversary Exhibition July 18, 2019 – September 3, 2019 Curated by Kevin Chen and Rio Yañez Exhibition at SOMArts Cultural Center 934 Brannan Street | San Francisco, CA Gallery Hours Tuesday–Friday: 12–7pm & Saturday: 12–5pm somarts.org/infinitearchives CURATORIAL STATEMENT Building the Building is a sampling of artwork by artists who laid the foundation for SOMArts creatively and administratively, artists whose contributions bridged multiple generations of the space, and artists who continue to work within the organization Building the Building: today. Amongst the artists in the exhibition are five key former SOMArts 40th Anniversary administrators of SOMArts who cover almost the entirety of the Exhibition four decades of SOMArts: Bernice Bing, Carlos Loarca, Betsie Opening Reception Miller-Kusz, Leo Valledor, and Rene Yanez. Their work and Thursday, July 18, 2019, 6–9pm presence exemplifies the unique relationships with artists that SOMArts has cultivated over the decades. Join us for the opening visual reception of Building the Building co-curated by Kevin Chen and Rio Opening with a public reception on Thursday, July 18, 6–9pm, Yañez. the exhibition title takes its inspiration from the internal nickname for SOMArts’ large physical space – “the building” – Closing Reception Thursday, August 29, 2019, and honors and celebrates the work of artists and leaders that 6–9pm have made SOMArts what it is today, a crucial champion of culture and community. For over four decades, SOMArts has Learn more at somarts.org occupied a unique foothold in the arts landscape of the Bay Area, as many artists and communities that would not have had an outlet for their work found space and support within the walls of “the building.” Countless artists, collectives, organizations, movements, and rebellions that have made the Bay Area arts community what it is today have at one point engaged with the services and space of SOMArts. -
Trees in the Forest July 23–Sept. 2, 2016 Curated by Kari Rittenbach
Stereo view high above the Columbia River at former Indian campsite. Carleton E. Watkins, Courtesy Oregon Historical Society (bb014690) TREES IN THE FOREST JULY 23–SEPT. 2, 2016 CURATED BY KARI RITTENBACH Andrei Koschmieder, Plant on radiator (if the phone rings...), detail, 2012. Courtesy the artist and Real Fine Arts, New York Arts, New detail, 2012. Courtesy the artist and Real Fine Martha Rosler, Seattle: Hidden Histories, 1991–95. Courtesy the artist and York Arts Intermix, New Electronic 84” x 84” x 8” diameter © Jackie Winsor. Courtesy Paula Cooper Gallery, New York Courtesy the artists detail, 2016. , 1971-72. Wood and twine. , 1971-72. Wood Bound Grid Nina Könnemann, Madagascar, 2004. Courtesy the artist Toyota Sunflower, Sunflower, Toyota Jackie Winsor, Jackie Winsor, (1995), XP (2001), Vista (2006), 7 (2009), 2016 Real Life magazine #19, Winter 1989 Jen Shear & Vinnie Smith, Jen Shear & Vinnie Windows Disclaimer: 95 Windows Courtesy the artist and 47 Canal, New York Courtesy the artist and 47 Canal, New Elise Duryee-Browner, Elise Duryee-Browner, Martin Beck, video still from The Environmental Witch-Hunt, 2008. Charles Gaines, Trisha Brown Dance, Set 7, 1980–1981, Cibachrome photographs, ink on Strathmore paper. Set of 4 small drawings, 2 large drawings and 2 photographs. Small drawings: 11” x 19 drawings and 2 photographs. Small drawings: 11” YU Tim Young & Ben Blackwell Young Tim YALE UNION 800 SE 10th Ave Portland, Oregon 97214 Courtesy the artist. Photos: Howard Fried, Fireman’s Conflict Resolution #4 and Fireman’s Conflict Resolution #5, 1982. Los Angeles Projects Los Vielmetter Susanne and York New Gallery, Cooper Paula Courtesy Gaines. -
Art Teacher's Book of Lists
JOSSEY-BASS TEACHER Jossey-Bass Teacher provides educators with practical knowledge and tools to create a positive and lifelong impact on student learning. We offer classroom-tested and research-based teaching resources for a variety of grade levels and subject areas. Whether you are an aspiring, new, or veteran teacher, we want to help you make every teaching day your best. From ready-to-use classroom activities to the latest teaching framework, our value-packed books provide insightful, practical, and comprehensive materials on the topics that matter most to K–12 teachers. We hope to become your trusted source for the best ideas from the most experienced and respected experts in the field. TITLES IN THE JOSSEY-BASS EDUCATION BOOK OF LISTS SERIES THE SCHOOL COUNSELOR’S BOOK OF LISTS, SECOND EDITION Dorothy J. Blum and Tamara E. Davis • ISBN 978-0-4704-5065-9 THE READING TEACHER’S BOOK OF LISTS, FIFTH EDITION Edward B. Fry and Jacqueline E. Kress • ISBN 978-0-7879-8257-7 THE ESL/ELL TEACHER’S BOOK OF LISTS, SECOND EDITION Jacqueline E. Kress • ISBN 978-0-4702-2267-6 THE MATH TEACHER’S BOOK OF LISTS, SECOND EDITION Judith A. Muschla and Gary Robert Muschla • ISBN 978-0-7879-7398-8 THE ADHD BOOK OF LISTS Sandra Rief • ISBN 978-0-7879-6591-4 THE ART TEACHER’S BOOK OF LISTS, FIRST EDITION Helen D. Hume • ISBN 978-0-7879-7424-4 THE CHILDREN’S LITERATURE LOVER’S BOOK OF LISTS Joanna Sullivan • ISBN 978-0-7879-6595-2 THE SOCIAL STUDIES TEACHER’S BOOK OF LISTS, SECOND EDITION Ronald L. -
Alexander, Asian American Art and the Obligation of Museums
ISSN: 2471-6839 Cite this article: Aleesa Pitchamarn Alexander, “Asian American Art and the Obligation of Museums,” conclusion to “Asian American Art, Pasts and Futures,” Panorama: Journal of the Association of Historians of American Art 7, no. 1 (Spring 2021), doi.org/10.24926/24716839.11465. Asian American Art and the Obligation of Museums Aleesa Pitchamarn Alexander, Assistant Curator of American Art and Co- Director, Asian American Art Initiative, Cantor Arts Center, Stanford University Figs. 1, 2. Left: Toshio Aoki, Persimmons in an Indian Basket, 1895. Oil on canvas, 24 1/2 x 32 1/8 in. Cantor Arts Center, The Michael Donald Brown Collection, made possible by the William Alden Campbell and Martha Campbell Art Acquisition Fund and the Asian American Art Initiative Acquisitions Fund, 2020.21; right: Toshio Aoki, Title unknown, c. 1890. Watercolor and sumi ink on paper, 27 3/4 x 21 3/4 in. Cantor Arts Center, The Michael Donald Brown Collection, made possible by the William Alden Campbell and Martha Campbell Art Acquisition Fund and the Asian American Art Initiative Acquisitions Fund, 2020.24 Consider one object by Japanese-born artist Toshio Aoki (1854–1912), acquired by the Cantor Arts Center at Stanford University from The Michael Donald Brown Collection, an 1895 painting, Persimmons in an Indian Basket (fig. 1).1 In the only known oil by Aoki, ripe persimmons are seen spilling out of a basket of presumably Indigenous design onto a russet-brown ground. It is composed in keeping with conventions of traditional still-life painting, but Persimmons is an unusual work for both Aoki and American art history. -
The San Francisco Bay Area 1945 – 1965
Subversive Art as Place, Identity and Bohemia: The San Francisco Bay Area 1945 – 1965 George Herms The Librarian, 1960. A text submitted in fulfillment of the requirements of The Glasgow School of Art For the degree of Master of Philosophy May 2015 © David Gracie 2015 i Abstract This thesis seeks evidence of time, place, and identity, as individualized artistic perspective impacting artists representing groups marginalized within dominant Western, specifically American culture, who lived in the San Francisco Bay Area between 1945–1965. Artists mirror the culture of the time in which they work. To examine this, I employ anthropological, sociological, ethnographic, and art historical pathways in my approach. Ethnic, racial, gender, class, sexual-orientation distinctions and inequities are examined via queer, and Marxist theory considerations, as well as a subjective/objective analysis of documented or existing artworks, philosophical, religious, and cultural theoretical concerns. I examine practice outputs by ethnic/immigrant, homosexual, and bohemian-positioned artists, exploring Saussurean interpretation of language or communicative roles in artwork and iconographic formation. I argue that varied and multiple Californian identities, as well as uniquely San Franciscan concerns, disseminated opposition to dominant United States cultural valuing and that these groups are often dismissed when produced by groups invisible within a dominant culture. I also argue that World War Two cultural upheaval induced Western societal reorganization enabling increased postmodern cultural inclusivity. Dominant societal repression resulted in ethnographic information being heavily coded by Bay Area artists when considering audiences. I examine alternative cultural support systems, art market accessibility, and attempt to decode product messages which reify enforced societal positioning. -
Oral History Interview with Moira Roth, 2011 April 22-24
Oral history interview with Moira Roth, 2011 April 22-24 This interview is part of the Elizabeth Murray Oral History of Women in the Visual Arts Project, funded by the A G Foundation. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Moira Roth on April 22-24, 2011. The interview took place in Berkeley, Calif., and was conducted by Sue Heinemann for the Archives of American Art, Smithsonian Institution. This interview is part of the Elizabeth Murray Oral History of Women in the Visual Arts Project, funded by the A G Foundation. Moira Roth and Sue Heinemann have reviewed the transcript. Their corrections and emendations appear below in brackets with initials. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview SUE HEINEMANN: This is Sue Heinemann interviewing Moira Roth at her home in Berkeley, California, on April 22, 2011, for the Archives of American Art, Smithsonian Institution, card number one. So Moira, I thought we'd just start with your childhood and early period. MOIRA ROTH: Well, what I've done in preparation for this is to pull together a number of documents, including my mother's birth certificate, my parents' marriage and my own birth certificate and a couple of photographs about my mother. So let me begin by this: My mother was Scottish-Canadian and was born in Canada, and on her birth certificate she says she's the daughter of Duncan McClellan. -
Bernice Bing (1936–1998)
Bernice Bing (1936–1998) Teacher Packet ©2020 1 Table of Contents Biography: Bernice Bing 3 Lesson 1: Compare and Contrast—Hasegawa and Bing (1st through 8th Grade) 5 Lesson 2: Researching Bay Area Arts Organizations (3rd–7th grade) 8 Lesson 3: Identity, Intersectionality: 6th–12th Grade, and Beyond 11 Lesson 4: East Asian Art Traditions and Bernice Bing (5th grade - high school) 14 Appendix A : 17 Resources 18 Lesson 1 18 Lesson 2 18 Lesson 3 19 Lesson 4 19 2 Biography: Bernice Bing Bernice Bing (1936–1998), or “Bingo,” was a queer Chinese American Abstract Expressionist artist. Born in San Francisco’s Chinatown, Bing’s early life was filled with adversity. Orphaned at the age of 6, Bing lived in a variety of homes including an orphanage, her grandmother’s, and with several white foster families. The Queer Cultural Exchange writes, “Through art, Bing dealt with the remoteness of her family and life set in a transplanted culture and the non-Asian world she encountered.” In 1958, after being awarded a scholarship, Bing began attending California College of Arts and Crafts. Here, under the influence of her professors, Bernice began exploring the intersection of being an American-born, queer, ethnically Chinese artist. Her fascination with East Asian philosophy, especially Zen Buddhism, can be seen throughout her work. In 1961, Bing graduated with an MFA, after transferring to what is now known as the San Francisco Art Institute. She established herself in the San Francisco art scene, mingling with the Beat movement. Bernice Bing was a devoted artist and activist, who was responsible for supporting many arts organizations throughout the Bay Area, such as SomArts. -
Abstracts 2012
100TH ANNUAL CONFERENCE L O S A N G E L E S FEBRUARY 22–25, 2012 ABSTRACTS ABSTRACTS 2012 100th Annual Conference, Los Angeles Wednesday, February 22–Saturday, February 25, 2012 50 Broadway, 21st Floor New York, NY 10004 www.collegeart.org College Art Association 50 Broadway, 21st Floor New York, NY 10004 www.collegeart.org Copyright © 2012 College Art Association All rights reserved. Printed in the United States of America. Sessions are listed alphabetically according to the name of the chair. Abstracts 2012 is produced on a very abbreviated schedule. Although every effort is made to avoid defects, information in this book is subject to change. CAA regrets any editorial errors or omissions. We extend our special thanks to the CAA Annual Conference Committee members responsible for the 2012 program: Sue Gollifer, University of Brighton, vice president for Annual Conference, chair; Sharon Matt Atkins, Brooklyn Museum of Art; Peter Barnet, The Metropolitan Museum of Art; Brian Bishop, Framingham State University; Connie Cortez, Texas Tech University; Ken Gonzales-Day, Scripps College; and Sabina Ott, Columbia College Chicago. Regional Representatives: Stephanie Barron, Los Angeles County Museum of Art, and Margaret Lazzari, University of Southern California. We also thank all the volunteers and staff members who made the conference possible. Cover: Photograph provided by Security Pacific National Bank Collection, Los Angeles Public Library. Design: Ellen Nygaard CAA2012 FEBRUARY 22–25 3 Contents CAA International Committee 11 Concerning the Spiritual in Art: Kandinsky’s 19 Confrontation in Global Art History: Past/Present; Pride/ Radical Work at 100 Prejudice Surrounding Art and Artists Chairs: Susan J. -
UNIVERSITY of CALIFORNIA, SAN DIEGO After the I-Hotel
UNIVERSITY OF CALIFORNIA, SAN DIEGO After the I-Hotel: Material, Cultural, and Affective Geographies of Filipino San Francisco A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnic Studies by Thea Quiray Tagle Committee in Charge: Professor Sara Clarke Kaplan, Chair Professor Curtis Marez, Co-Chair Professor Patrick Anderson Professor Kirstie Dorr Professor Kalindi Vora Professor Daniel Widener 2015 Copyright © Thea Quiray Tagle, 2015 All rights reserved. The Dissertation of Thea Quiray Tagle is approved, and it is acceptable in quality and form for publication on microfilm and electronically: _______________________________________________________________ _______________________________________________________________ _______________________________________________________________ _______________________________________________________________ _______________________________________________________________ Co-Chair _______________________________________________________________ Chair University of California, San Diego 2015 iii DEDICATION In loving memory of my best teachers: Aurelio Muñoz Quiray Rosemary Marangoly George Candice Tamika Rice (Thank you.) iv TABLE OF CONTENTS Signature Page.………………………………………………….…………........... iii Dedication.……………………………………………………………………….. iv Table of Contents.………………………………………………………………... v Acknowledgements………………………………………………………………. vi Vita……………………………………..…………………………...……………. xii Abstract of the Dissertation……………..…………………………..……………. xiii Introduction.………………………………………………………………………. -
Kuykendall – Women of Abstract Expressionism
ISSN: 2471-6839 Women of Abstract Expressionism Edited by Joan Marter; With an Introduction by Gwen F. Chanzit; essays by Robert Hobbs, Ellen G. Landau, Susan Landauer, and Joan Marter; and an interview with Irving Sandler New Haven: Yale University Press in association with the Denver Art Museum, 2016 216 pp.; 138 color and 50 b/w illus. ISBN: 9780300208429 $65.00 Exhibition schedule: Denver Art Museum, Colorado, June 12–September 25, 2016; Mint Museum, Charlotte, North Carolina, October 22, 2016–January 22, 2017; Palm Springs Art Museum, California, February 18–May 28, 2017 Reviewed by: Lara Kuykendall, PhD, Ball State University, Assistant Professor of Art History, [email protected] Lara Kuykendall. “Review of Women of Abstract Expressionism.” Panorama: Journal of the Association of Historians of American Art e no. 1 (Summer, 2017). https://doi.org/10.24926/24716839.1593. Studying historical women artists requires an understanding of both the blatant sexism that kept women from fully participating in the art world and the way the existing scholarship of an era diminishes or ignores the achievements women artists managed to accomplish. Women of Abstract Expressionism, the lavishly illustrated compendium accompanying the 2016 Denver Art Museum exhibition of the same name, deftly balances these two priorities. The book, edited by Joan Marter, includes an introduction by exhibition curator Gwen F. Chanzit as well as essays by Marter and other noted Abstract Expressionism scholars, Ellen G. Landau, Susan Landauer, Robert Hobbs. An interview with Irving Sandler by Marter, a chronology of women’s participation in the movement by Jesse Laird Ortega, and biographies of forty-two artists by Aliza Edelman complete the volume. -
2015-2018 SFAC Review Panelists Pool Community Arts, Education and Grants Committee September 8, 2015
2015-2018 SFAC Review Panelists Pool Community Arts, Education and Grants Committee September 8, 2015 Idris Ackamoor Executive Director, Cultural Odyssey Idris Ackamoor is a multi-instrumentalist, composer, actor, tap dancer, director and videographer. He is the Founder and Co-Artistic Director of the San Francisco performance company Cultural Odyssey. He is also Artistic Director of the legendary world music/jazz ensemble THE PYRAMIDS. In addition, Mr. Ackamoor is also a curator with the National Black Theatre Festival in Winston-Salem, North Carolina where he produces the New Performance in Black Theater Series as an integral part of the Festival. Since 1993 Idris has presented a who’s who of the African American performing arts including the late Sekou Sundiata, Roger Guenveur Smith, Ntozake Shange, Pearl Cleage, Will Power, Marc Bamuthi Joseph, and many others. Stella Adelman Theater and Adult Program Director, Dance Brigade's Dance Mission Theater A San Francisco native, Stella Adelman holds a B.A. in World Arts and Cultures from UCLA, where she graduated Summa Cum Laude and was awarded a Gold Shield Arts Scholarship. She also holds a Masters in Education from Pace University and spent a year studying liberal arts at La Universidad de La Habana and dance at El Instituto Superior del Arte in Havana, Cuba. She co-produced the CubaCaribe Festival of Dance and Music from 2007 to 2010, sat on the Advisory Board for both CounterPulse’s Performing Diaspora Program 2013-2014 and Duniya Drum and Dance Company, and has produced Carnaval San Francisco’s King and Queen Competition since 2014. -
Tanya Gayer [email protected]
Tanya Gayer [email protected] www.tanyagayer.com EDUCATION 2016 MA Curatorial Practice MA Visual & Critical Studies California College of the Arts, San Francisco, CA 2011 BFA with an Emphasis in Photography University of Nevada, Reno, NV CURATORIAL PROJECTS 2020 Title TBD, Curator (forthcoming Fall 2020) MAAKE Magazine Title TBD, Curator (forthcoming November 2020) Unrequited Leasure, Nashville, TN Title TBD, Curator (postponed to Fall 2020) Knockdown Center, New York, NY 2019 Soundwave 9, Chief Curator Contemporary Jewish Museum, CounterPulse, El Rio, Center for New Music, San Francisco, CA Chief Curator of four event series with selected guest curator facilitation: Patricia Cariño-Valdez, Megan and Shannon Kurashige, House of Malico, and Christo Oropeza Artists include: Szu-Han Ho, Sandu Ndu, Sharp and Fine Dance Company, Onmommas, Red Corvette, Onmommas, Fela Kutchii, Namaste Shawty, San Cha, Persia, Guillermo Galindo Alma Mater: Methods, Co-curator Hubbell Street Galleries, San Francisco, CA 2010-2019 alumni from California College of the Arts My Mother’s Maiden Name, Curator Root Division, San Francisco, CA Terry Berlier, Michelle Bonilla Garcia, Kira Dominguez Hultgren, Joty Dhaliwal, Sarah Lee, Kim Miskowicz, Margaret Noble, Mimi Onuoha, Julien Prévieux, Deborah Stein, tamara suarez porras Sonoma Modern | Contemporary, Exhibition Management Sonoma Valley Museum of Art, Sonoma, CA Paul Beattie, Bernice Bing, Erik Castro, Jay DeFeo, Wally Hedrick, Deborah Oropallo, Robert Hudson,