INDIVIDUAL ARTIST FELLOWSHIPS C.O.L.A. 2013

C.O.L.A. 2013 Individual Artist Fellowships

Department of Cultural Affairs City of Los Angeles

This catalog accompanies an exhibition and performance series sponsored by the City of Los CITY OF Angeles Department of Cultural Affairs featuring LOS ANGELES its C.O.L.A. 2013 Individual Artist Fellowship recipients in the visual and performing arts. 2013 INDIVIDUAL Exhibition: May 19 to July 7, 2013 ARTIST Los Angeles Municipal Art Gallery FELLOWSHIPS Barnsdall Park

Opening Reception: May 19, 2013, 2 to 5 p.m.

Performances: June 28, 2013 Grand Performances

2 Antonio R. Villaraigosa LOS ANGELES CITY COUNCIL CULTURAL AFFAIRS COMMISSION Department of Cultural Affairs Department of Cultural Affairs Mayor City of Los Angeles City of Los Angeles City of Los Angeles Ed P. Reyes, District 1 York Chang Paul Krekorian, District 2 President Olga Garay-English Aileen Adams Dennis P. Zine, District 3 The Department of Cultural Affairs (DCA) generates and supports high-quality Executive Director Deputy Mayor Tom LaBonge, District 4 Josephine Ramirez arts and cultural experiences for Los Angeles’s 4 million residents and 40 million Strategic Partnerships Paul Koretz, District 5 Vice President Senior Staff Tony Cardenas, District 6 annual overnight and day visitors. DCA advances the social and economic impact of the arts and ensures access to diverse and enriching cultural activities through Richard Alarcon, District 7 Maria Bell Matthew Rudnick Bernard C. Parks, District 8 Annie Chu grant making, marketing, public art, community arts programming, arts education, Assistant General Manager Jan Perry, District 9 Charmaine Jefferson and building partnerships with artists and arts and cultural organizations in Herb J. Wesson Jr., District 10 Richard Montoya neighborhoods throughout the City of Los Angeles. Will Caperton y Montoya Bill Rosendahl, District 11 Lee Ramer Director of Marketing and Development Mitchell Englander, District 12 DCA’s operating budget and managed portfolio total $40.6 million in fiscal year Eric Garcetti, District 13 Felicia Filer Jose Huizar, District 14 2012–13. This amount consists of $11 million in funds from the Public Works Public Art Division Director Joe Buscaino, District 15 Improvements Arts Program (PWIAP); $10.8 million in city-related and indirect cost allocations; $6.7 million from the Private Arts Development Fee Program Joe Smoke Carmen Trutanich Grants Administration Division Director Los Angeles City Attorney (ADF); $9.2 million in Transient Occupancy Tax funds; and over $2.9 million in private and public funds raised from foundation, corporate, government, and Leslie Thomas Wendy Greuel individual donors. Community Arts Division Director Los Angeles City Controller DCA significantly supports artists and cultural projects through its Public Art Division by administering a portfolio totaling $17.7 million in PWIAP and ADF funds in FY12/13. Of this amount, typically 15 to 20 percent, or between $2.55 and $3.4 million, is attributable to artists’ fees. DCA’s executive director and the Marketing and Development Division have raised over $21 million since FY07/08 to regrant to L.A.-based artists and arts and cultural organizations for regranting initiatives and to support DCA’s special programming and facilities. DCA also grants approximately $2.2 million annually to more than three hundred artists and nonprofit arts and cultural organizations through its long-established Grants Administration Division. Additional special project support of more than $1.5 million is also awarded annually for a total of approximately $3.7 million invested each year in L.A.’s creative community.

DCA provides arts and cultural programming through its Community Arts Division, managing numerous neighborhood arts and cultural centers, theaters, historic sites, and educational initiatives. DCA’s Marketing and Development Division also markets the City’s arts and cultural events through development and collaboration with strategic partners; design and production of creative catalogs, publications, and promotional materials; and management of the culturela.org website, visited by more than 3 million people annually. Catalog design and production: Michael Department of Cultural Affairs CONTENTS Worthington and Ania Diakoff, Counterspace, City of Los Angeles Los Angeles 201 North Figueroa Street, Suite 1400 Los Angeles, CA 90012 Editor: Karen Jacobson Tel 213.202.5500 9 Introduction Artists’ portraits: Whitney Hubbs Fax 213.202.5517 Olga Garay-English and Joe Smoke Cityscape (cover, pp. 12–13): Soo Kim Web culturela.org

Printed by LuLu 10 Curator’s Statement Los Angeles Municipal Art Gallery Scott Canty © 2013 by the City of Los Angeles Department of Barnsdall Park Cultural Affairs. All rights reserved. 4800 Hollywood Boulevard Los Angeles, CA 90027 13 2013 C.O.L.A. Fellows Original artworks courtesy of the individual artists Tel 323.644.6269 unless otherwise noted. Visual / Design Artists

As a covered entity under Title I of the Americans Grand Performances 14 Lisa Anne Auerbach with Disabilities Act, the City of Los Angeles 350 South Grand Avenue 20 Krysten Cunningham does not discriminate on the basis of disability Los Angeles, CA 90071 26 Ramiro Diaz-Granados and upon request will provide reasonable Tel 213.687.2190 accommodations to ensure equal access to its 32 Samantha Fields programs, services, and activities. 38 Judithe Hernández 44 Carole Kim Photography Credits Kamau Amen-Ra: 73; Phil Melnick: 72; Paul Rose: 50 Nery Gabriel Lemus 69 (right); Lisa Talbot: 22–25; Michael Weaver: 54 Rebeca Méndez 68–69; Joshua White: 28–29 60 Rebecca Morris

Performing Artists 66 Malathi Iyengar 70 Michael White

74 Works in the Exhibition 76 C.O.L.A. History 83 Contributors 83 Acknowledgments Individual Artist Fellowships

INTRODUCTION

Olga Garay-English Executive Director

Joe Smoke Grants Administration Division Director

Department of Cultural Affairs City of Los Angeles

One of the primary tasks of the Department of Cultural Affairs (DCA) is to support the creative process in a global city at the crossroads of the world’s ideas. We are privileged to fulfill that goal and introduce new bodies of work produced by master artists selected for the 2012–13 C.O.L.A. Individual Artist Fellowship Awards.

The fellowships are significant because they acknowledge and highlight the contributions of some of our city’s finest individual artists. The fellowship program appears to be quite simple, yet a great deal of support is necessary to select the artists and allow them room to create freely. This simplicity provides a framework for the complex, aesthetically challenging, and divergent work showcased in our exhibition, performances, and online catalog.

At a time when most government sector support continues to limit access to funding for individual artists, city funding is critical. Join us in extending our appreciation to Mayor Antonio R. Villaraigosa, the Los Angeles City Council, and the Cultural Affairs Commission for their commitment to the arts in our city.

The C.O.L.A. Individual Artist Fellowship program is the product of inspiration. The artists selected for this honor represent what is unique about L.A.: that we recognize, value, and celebrate innovation and creativity. Together we congratulate this year’s fellowship recipients. Their sensitive approach to the social, political, and intellectual traditions reflected in Los Angeles helps us expand our cultural consciousness. We are fortunate to work with a community of artists whose energy and vision continue to make this collaboration a success.

9 C.O.L.A. 2013 Individual Artist Fellowships

CURATOR’S STATEMENT

Scott Canty Curator and Director of Exhibitions Los Angeles Municipal Art Gallery

Since its opening in 1971, the Los Angeles Municipal Art Gallery (LAMAG) of museum education and tours program; Michael L. Miller, chief preparator; at Barnsdall Park has been considered the flagship exhibition space for the Gabriel Cifarelli, education coordinator; Marta Feinstein, education coordinator; Department of Cultural Affairs and the City of Los Angeles. Throughout the and Mathew Ohm, director’s assistant. I would also like to acknowledge the gallery’s history, its leadership role in the community has evolved, but our focal executive team at the Department of Cultural Affairs: Olga Garay-English, point has always been the city’s artists, as demonstrated by our past and executive director; Matthew Rudnick, assistant general manager; Will Caperton y current exhibition programs. The gallery focuses primarily on the presentation, Montoya, director of marketing and development; and Leslie Thomas, community interpretation, documentation, promotion, and enrichment of the visual arts. arts division director overseeing Barnsdall Park. The exhibition program is devoted to showcasing emerging, midcareer, and In addition, I am grateful to the gallery’s support staff: Joan Bacon, Michael established artists. The exhibitions include group and individual presentations, Bell, Dexter Delmonte, Jacqueline Dreager, Steve Honey, Marta Feinstein, Randy with educational components for each. We are dedicated to serving the people Kiefer, Mark Lucero, Michele Murphy, Matthew Ohm, Mary Oliver, Annette of Los Angeles, and the scope of our curatorial activities includes painting, Ownes, Albino Njar, Gloria Plascencia, Larry Rubin, Michael Sage, Nancy sculpture, photography, architecture, video, installation, design, and other related Stanford, and Nan Wollman. disciplines that reflect the cultural fabric of the Southern California region. I would also like to thank the designer of this year’s C.O.L.A. invitation The city of Los Angeles offers a rich tapestry of culturally diverse audiences— and online catalog, Michael Worthington, for the creative energy that he has from the Westside to the Eastside, from downtown to the Valley—and Barnsdall dedicated to the project. Special thanks go to all the writers who have worked Park is one of the places where all of them can explore the arts. One can spend with the C.O.L.A. artists on developing texts about their work and to our editor, the day there, take an art class, or watch a live performance. Karen Jacobson, for her outstanding editorial oversight of the project. Celebrate with us the diversity of this year’s 2013 C.O.L.A. award recipients. Finally, the Los Angeles Municipal Art Gallery has a rich history of working The fellows in the visual arts are Lisa Anne Auerbach, Krysten Cunningham, with artists from all over Southern California and our surrounding communities, Ramiro Diaz-Granados, Samantha Fields, Judithe Hernández, Carole Kim, Nery so I want to give my most gracious thanks to them for their generous support Gabriel Lemus, Rebeca Méndez, and Rebecca Morris. The performing artists are over the years. And I especially thank the residents of Los Angeles, who keep this Malathi Iyengar and Michael White. gallery as a beacon for the arts in the city. LAMAG celebrates the accomplishments of these artists by presenting a nonthematic group exhibition featuring each visual artist’s most current work. The C.O.L.A. fellowship’s purpose is to give the artists flexibility to step out of their comfort zone and create adventurous new work that might otherwise be set aside. The fellows are chosen based on their past artistic accomplishments, with the selection made by a panel of established arts professionals and past C.O.L.A. fellowship recipients. This selection process results in a multifarious group of artists creating an “end product” exhibition and performance series that is always stellar. I would like to thank the City of Los Angeles Department of Cultural Affairs and the Los Angeles Municipal Art Gallery Associates for their generous support of LAMAG’s exhibition and educational programming. The gallery could not run effectively without the following dedicated staff members, who continue to strengthen our vision and our purpose: Sara Cannon, art curator and director

10 11 INDIVIDUAL ARTIST Visual Artists FELLOWSHIPS 14 50 Lisa Anne Nery Gabriel Auerbach Lemus

20 54 Krysten Rebeca Cunningham Méndez

26 60 Ramiro Rebecca Diaz-Granados Morris

32 Samantha Fields

Performing Artists

38 66 Judithe Malathi Hernández Iyengar

44 70 Carole Michael Kim White

13 C.O.L.A. 2013 Individual Artist Fellowships LISA ANNE AUERBACH LISA ANNE AUERBACH Lisa Anne Auerbach: skiing. Other things my friend with a camera My Friend with a Camera does are ordering and posting things online, Born 1967 in Ann Arbor, Michigan which is also what everyone else does, and Lives and works in Los Angeles (downtown) My friend with a camera actually owns many it’s okay, because she’s not really a Japanese cameras, and she likes consistency—not only cartoon from the nineteen eighties but a MFA, Art Center College of Design, with her camera but also in other aspects of normal person. Only thing, she does not go Pasadena, CA, 1994 life. To visualize my friend with a camera, to museums like normal persons but more BFA, photography, Rochester Institute you will have to imagine a Japanese cartoon like the people who are in the permanent of Technology, Rochester, NY, 1990 of the nineteen eighties, in which strange collection, so it is amusing to go to museums people with big sparkly eyes always wear with her because she will always know Selected Exhibitions the same outfit. My friend with a camera is everything about it inside and out, including 2012 like that, from complementary color clogs to all the interns working in the gift shop and Chicken Strikken, Malmö Konsthall, red bike pants, from vintage-looking shirts all the artworks, piece by piece. She often Malmö, Sweden (solo) to outrageous sweaters. My friend with a initiates conversations with gift shop interns United We Stand, AIR: Artist in Residence camera is not a photographer per se, but and all the artworks, so if you are ever at a program, Hammer Museum, Los Angeles (solo) she is also that. Other things she is are artist, museum with her, you should watch for the 2010 unicyclist, brown-haired, inquisitive. My Rembrandts as they tend to get inappropriate The Tract House: A Darwin Addition, friend with a camera might even be too hard in her presence. My friend with a camera Philagrafika 2010: Out of Print, American to portray because it is too easy to do so. likes to talk, but she listens too, and if you Philosophical Society Museum, Philadelphia She likes to eat at Korean tofu restaurants and say something, she questions it first, then she (solo) deceivingly upper-class bakeries. She carries remembers. Sometimes she doesn’t, though, 2009 knitting tools everywhere she goes, and she because we are all very busy. Take This Knitting Machine and Shove It, has a light in her stomach that turns on when I get along with my friend with a camera Nottingham Contemporary, Nottingham, UK she has an idea. No, it turns on only when she because we have similar tastes in people, (solo) has a good idea. Her ideas include knitting, forms of entertainment, and coffee. We also UMMA Projects: Lisa Anne Auerbach, taking pictures of stuff including knitting, have similar brown hair, but mine is curly. University of Michigan Art Museum, riding her bicycle in Los Angeles, and other Ann Arbor (solo) things that she keeps hidden in a white shed P.S. My friend with a camera, Lisa Anne 2008 outside her house. The shed is packed full of Auerbach, is making a “megazine” for Election Sweaters, Aspen Art Museum, magical devices and mysterious machinery her C.O.L.A project, called the American Aspen, CO (solo) but does not contain things that normally go Megazine. It is a zine that has pages 60 inches to die in sheds, like broken appliances and high and 39 inches wide. The first issue of questionably colored paint. I remember the American Megazine is about megachurches: Selected Bibliography first day I saw that shed: I was secretly looking there are pictures of megachurches and Bryan-Wilson, Julia. “Lisa Anne Auerbach’s for an obsolete toaster-oven. I expected stories about visiting them. The megazine is Canny Domesticity.” In Lisa Anne Auerbach, ed. Jacob Proctor, 5–15. Ann Arbor, MI: to find the place less lit and consequently displayed so that people can flip through it. University of Michigan Museum of Art, 2010. more serious. When my friend with a camera Reprinted in The Textile Reader, ed. Jessica opened the door for me, I was hit by colors Sabrina Ovan Hemmings. London: Berg, 2012. that clearly did not belong in questionable paint cans but were all happily making funny Fogle, Douglas. “Lisa Anne Auerbach.” impressions of the light coming in from the In Creamier: Contemporary Art in Culture; outside. Outside it was the perfect weather 10 Curators, 100 Contemporary Artists, 10 Los Angeles always has. Granted, I magnify Sources. London: Phaidon, 2010. the scope of my encounter with my friend Subotnick, Ali. Nine Lives: Visionary Artists with a camera’s shed for narrative purposes, from L.A. Los Angeles: Hammer Museum, but there are other stories about her and 2009. said space that don’t need to be reworked fictionally. This is not the place to do so. My friend with a camera and I like to go skiing. My friend with a camera is a much better skier than I am, as the stories I am not writing here would confirm. But this is not really important, except that when my friend with a camera and I went skiing together once it struck me as an epiphany that Americans know how to ski and they can do it very well. That day we also ate beans and took pictures of skiing. Not of skis, just of

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1 American Megazine, 2013; 24-page magazine; 16 Bookshelf, 2012; 16-page magazine; 11 x 8 /2 inches (page size) 17 60 x 39 inches (page size) C.O.L.A. 2013 Individual Artist Fellowships

Kennedy/Nixon 1960 Campaign Sweater, 2008; wool 18 Would you buy a used knitting machine from this woman? (Marika and her cat), 2012; 19 color photograph; dimensions variable C.O.L.A. 2013 Individual Artist Fellowships KRYSTEN CUNNINGHAM KRYSTEN CUNNINGHAM In Krysten Cunningham’s practice the a cube can be seen as a three-dimensional relationship between ideas and forms is representation of a hypercube. The animated Born 1973 in New Haven, CT reciprocal: preconceived ideas and work image track, which shows rotating hypercubes Lives and works in Los Angeles plans generate studio activity, but formal seen first orthogonally and then in perspective, (West Adams) experiments are also allowed to suggestively bears a striking resemblance to the box-kite generate impressively far-flung ideas. In forms of Cunningham’s earlier sculptures. The Education 2004, having just finished graduate school, notion that there exists a spatial dimension that MFA, sculpture, University of California, at a moment when most serious sculptors is invisible to us is then used as a springboard Los Angeles, 2003 of her generation were pursuing some for psycho-philosophical speculations on fusion of late modernism and pop art, the nature of knowledge, existence, and the Selected Exhibitions Cunningham turned about and set sail for a body. (The bulk of the material in the film is 2010 world of handicrafts, pattern, and play. Her appropriated: the spoken text is taken from Thomas Solomon Gallery, Los Angeles (solo) first works in this vein take the well-known the book The Fourth Dimension [1922] by the Undone: Making and Unmaking in Contem- ojo de dios (God’s eye) motif of colored Russian esoteric philosopher P. D. Ouspensky, porary Sculpture, Henry Moore Institute, concentric squares, traditionally woven by and the stunning vector-graphics animations Leeds, UK the Huichol Indians, and spin it out into three are from an award-winning 1978 film by the 2009 dimensions. Planes of wrapped yarn occupy mathematicians Thomas Banchoff and Charles Dispatch, New York (solo) 2008 the faces of polyhedra, in turn structured by Strauss.) Hypercube mobilizes the arcane Sies + Höke, Düsseldorf, Germany (solo) metal rods. The facture of the early pieces is (and, it must be said, archaic) literature on the Beyond Measure, Kettle’s Yard, Cambridge, transparent in the high modernist tradition: fourth dimension to produce an ethereal mood UK the viewer sees (or thinks he sees!) exactly of transparency. The video slyly frames the 2006 how the piece was constructed. With the sculptures, proposing an extraspatial model Ritter/Zamet, London (solo) God’s Eyes, Cunningham came up with an for their physical origin, as if they had been 2005 ingenious, radiantly simple solution to some deposited from a higher, invisible plane. Thing: New Sculpture from Los Angeles, of modernism’s most well-worn binaries: In Cunningham’s most recent work, Hammer Museum, Los Angeles hard/soft, armature/facade, inside/outside, occasioned by the C.O.L.A. exhibition, yarn object/support. The shadowy inside spaces and thread become their own autonomous Selected Bibliography of the sculptures, glimpsed through narrow support, loosely woven on a handloom “Conversation between Claire Barclay and breaks in the weave and at the edges of into textiles. Displaying simple bands Krysten Cunningham.” In Undone: Making each design’s faces, posit a subdued interior of color, these coarse fabrics reveal the and Unmaking in Contemporary Sculpture. world, one that the viewer is unmistakably structure of their warp and weft in explicit Leeds, UK: Henry Moore Institute, 2010. beckoned to enter. detail. The weavings are draped or pinned Miles, Christopher. “Krysten Cunningham: Found throughout Huichol temples, onto vertical metal rods, in turn stationed Thomas Solomon Gallery.” Artforum 47 ojos de dios are regarded as shamanistic on floor supports that variously allude to (March 2009): 252–53. portals, places through which humans desert architecture, garden follies, and and the deity can perceive each other. theatrical sets. The expanded human scale Rosenberg, Karen. “Krysten Cunningham: Cunningham’s relationship to this highly of these works can be seen as an evolution Tangental.” New York Times, November 27, specific tradition, long since commercialized of Cunningham’s previous sculpture but 2009. in Huichol yarn paintings for the tourist also draws from her ongoing experiments trade, is not simple. She is obviously no with performance, video, and theater. Literal Huichol—indeed the average American is space dividers, the sculptures engage the more likely to encounter a God’s-eye form in relationship between viewer and object but a kindergarten classroom than on a Mexican also that between viewer and viewer. While mountaintop. Nevertheless these sculptures they unquestionably hark back to the history resonate with the ancient modalities of of minimalism and the famous question of sacred geometry and pose vexed but urgent its theatricality, their material thinness and questions about the spiritual meanings and transparency stand in sharp contrast to the utopian possibilities of geometric abstract heavy industrial materials associated with art today. that movement. The works raise familiar The breakthrough video Hypercube but unsettled questions about weaving as (2006) introduced another layer of cultural a metaphor and about the gendering of reference to this geometric domain, that of the facture, process, materials, and space itself. fourth dimension. In the film, an unseen narrator (voiced by Cunningham) introduces the Benjamin Lord concept of the hypercube, a theoretical solid that exists in a fourth spatial dimension. Just as a square can be seen as a two-dimensional representation of a cube, so, it is observed,

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Stone and Tapestry, 2012–13 (detail); cotton, silk, 22 23 Stone and Tapestry, 2012–13; cotton, silk, wool, dye, wool, dye, powder-coated steel, silver, cement, stone, powder-coated steel, silver, cement, stone, wood; wood; 84 x 60 x 24 inches 84 x 60 x 24 inches C.O.L.A. 2013 Individual Artist Fellowships

Triangle and Chains, 2012; medium-density 24 Circle and Chains, 2012; medium-density fiberboard, brass chain, spray 25 fiberboard, brass chain, spray paint, epoxy; paint, epoxy; 77 x 22 x 5 inches 77 x 22 x 5 inches C.O.L.A. 2013 Individual Artist Fellowships RAMIRO DIAZ-GRANADOS Ramiro Diaz-Granados Ramiro Diaz-Granados: Amorphis more provocative form of coherence between the two. Born 1971 in Santa Monica, CA Above all, what can be said of the shape of In Amorphis’s C.O.L.A. project, Lives and works in Los Angeles (Highland clouds (“How is a cloud outlined?”). When the Adumbrated Figure, the obsession with Park) question is formulated like this, it proceeds from figure is targeted toward the territory a certain confusion between the signified and between face and body. A single iconic Education the referent and between sign and substance. facial profile is transformed into a series of M.Arch, University of California, —Hubert Damisch drawings and objects that oscillate between Los Angeles, 2003 visual legibility and physical sensation and B.Arch, Southern California Institute of The word amorphous conjures that which is are delivered through line and mass. The Architecture (SCI-Arc), Los Angeles, 1996 geometrically elusive, evoking Paul Valéry’s objects consist of three similar profiles that definition of the shapeless—things that evade are revolved into a six-foot-tall bodyface Selected Exhibitions and Installations the possibility “to replace them by an act of rendered in cast foam. As one moves around 2012 drawing or clear recognition.”1 The work of the objects, the legibility of the profile gives SCI-Arc Graduation Pavilion Competition, Amorphis embraces the tenuous qualities way to the physicality of a suggested body, SCI-Arc Library, Los Angeles of recognition that some forms evoke, or or line gives way to mass. The drawings are Go Figure, SCI-Arc Main Gallery, what could be called compromised forms of based on the ten original Rorschach inkblot Los Angeles (solo) legibility. In some instances the formal legibility tests (a psychological tool developed in the 2010 of the work approaches a nearly anamorphic early twentieth century to evaluate emotional Architecture of the Urn, Lundgren Gallery, Seattle logic, as in the exhibition Go Figure (SCI-Arc functioning or identify what were referred to 2008 Gallery, 2012), in which the thickened line that as “thought disorders”). Based on the profiles C-hub, SCI-Arc Library, Los Angeles (solo) meandered through the gallery suggested a of the inkblots, the drawings are hyperindexical 2006 multitude of originary figures yet settled fixedly notations producing a mass of lines that Vertical Garden, MAK Center, Vienna on none. Each latent figure inscribed by the line allude to faces and bodies and promote work becomes partially compromised through “thought disorders.” Selected Bibliography the coloration of the piece, which was applied The projects of Amorphis challenge the Diaz-Granados, Ramiro. “Craft Works: to the faces of aluminum that make up the conventional distinction between drawing and On How to Get Medieval.” ACSA Journal substance of the line in such a way that the object. In this work objects are to a certain extent (forthcoming, 2013). torquing of the line figure also literally pulls delineations that have become materialized, these colored surfaces through the space. A suggesting that the drawing is not necessarily Lubell, Sam. “Work: SCI-Arc’s Chub Table.” cyan, magenta, yellow, or black surface defining the precursor of the form but rather that the Architectural Record 196 (May 2008), http://archrecord.construction.com/ one part of the line begins to dissolve into a form may instantiate itself as the drawing of archrecord2/work/0805/SCI-Arc.asp. perforated line punctuated by the folded tabs matter through space. Not unlike the attempt of aluminum that operate as joints. This attitude to outline a cloud, this elicits the impression of toward coloration, in which color indexes the occupying a space somewhere between the

involution of geometry and simultaneously drawing and the object, an ambivalent state unsettles the stability of any figure that may be that allows for multiple forms of legibility to produced, creates a flickering effect between coexist. Each of Amorphis’s projects evokes figure and substance. Likewise, in the design a multitude of possible affiliations related to of the Tumbleweed pavilion (2012), a particular its particular attitude toward geometry, form, vantage point vis-à-vis the structure enables a posture, material, and coloration. If one task of nearly anatomical figure to emerge from the architecture is to provoke more profound forms line work. The clarity of this body subsequently of engagement between itself and those who recedes in legibility as one moves around or encounter it, the work of Amorphis certainly through the architectural object, provoking a figures highly in this regard. change in the posture of the inscribed figure and providing the structure with differential Marcelyn Gow depth. In the Smiley Bar project (2012), a different kind of amorphy is present. In this case Notes a two-dimensional figure of a smile undergoes Epigraph: Hubert Damisch, A Theory of a series of transformations that liberate the /Cloud/: Toward a History of Painting, trans. smile from the human face. Ultimately what Janet Lloyd (Stanford, CA: Stanford University is rendered tangible in the wood that forms Press, 2002), 191. the bar is no longer a smiling face but rather a 1. Paul Valéry, quoted ibid., 194–95. diffuse “smileyness” that oscillates in tandem with the multidirectionality of the wood grain. The material properties of the architectural object vex its formal legibility to produce a

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Go Figure, installation view, SCI-Arc Main Gallery, Los Angeles, 2012 29 C.O.L.A. 2013 Individual Artist Fellowships

30 Tumbleweed, SCI-Arc temporary pavilion, 2012 in a corner. It is composed of a pile of contorted compression rod and shade fabric tightly bound to Like its namesake, this proposal for a temporary loops that are constantly deviating from a legible it. The pavilion provides a covered canopy for up to pavilion promotes a rootless object that has silhouette and are structurally suspect. Each loop is 250 seats and shaded coverage for up to 1,200 in seemingly rolled into the site and been trapped designed as a variable right triangle in section with a the late afternoon. C.O.L.A. 2013 Individual Artist Fellowships SAMANTHA FIELDS Samantha Fields Samantha Fields: One hazy midnight landscape, horizon- Clear in the Haze tally streaked with pale blue, Passenger (2013), Born 1972 in Cleveland could easily be described as nonobjective were Lives and works in Los Angeles Sometimes it’s through moments of deep it not for a faint line of trees at its center. It is Professor of Art, California State University, uncertainty that we ultimately find our way. If not based on a photograph taken from the window Northridge an adage, this is surely an oft-repeated truth, of a car driven by Fields’s husband, the artist but what does it mean exactly? To understand Andre Yi, as it sped down a darkened high- Education the statement—and, in a parallel perceptual way on the Olympic Peninsula, in Washington MFA, painting, Cranbrook Academy of Art, realm, the mutable yet intoxicating surfaces State. Passenger is less an image of a land- Bloomfield Hills, MI, 1998 of Samantha Fields’s new paintings—we must scape at night and more a depiction of seeing BFA, painting, Cleveland Institute of Art, take it apart. To find one’s way implies that there and experiencing, being and viewing. By choos- 1995 is a route to be discovered, and not just any ing to make this strange and blurry photograph route but the right one. To bemoan not knowing the impetus for a painting, Fields suggests that Selected Exhibitions suggests that somewhere out there clarity is site doesn’t matter or, rather, that its import is 2012 lurking, waiting for us to simply recognize located wherever we encounter it. Be Careful What You Wish For, Western and understand it. Despite the inherent The C.O.L.A. grant, designed to offer Project, Los Angeles (solo) impossibleness of the task, we want to know, artists the opportunity for experimentation, Painted Desert, Lancaster Museum of Art and History, Lancaster, CA to be certain of where we are headed or what seems the perfect context for a visual 2011 we understand our role to be. Paradoxically, exploration of uncertainty and fugue; No Object Is an Island, Cranbrook Academy following the logic of our would-be adage and interestingly, in painting images of faulty of Art Museum, Bloomfield Hills, MI of Fields’s striking canvases, we make room photographs and in-between spaces, Fields My House Is Your House, Statler Waldorf for comprehension within the very space of has arrived at a place of depicting the precise Gallery, Los Angeles recognizing and accepting incertitude. but fleeting nature of presence. The oncoming 2010 Fields’s longtime exploration of looking, headlights of a car at night become a brilliant From a Safe Distance, Kim Light / Lightbox, specifically at nature but more generally at the orb in the center of a concentric composition New York (solo) world around us, has led her on dangerous in Nocturne 2, Eugene (2013), easing into a Altimetry, Terminal 1, Los Angeles expeditions into rather than away from fires charcoal gray ground tinged with blue like the International Airport, curated by Mark and storms in an effort to document the power rays of a star in the night sky or the trail of an Steven Greenfield, Department of Cultural of weather. It was on one of these journeys elusive jellyfish deep in the sea. One of Fields’s Affairs, City of Los Angeles that she came upon, quite literally, a deer in the first large works on paper, the painting vacillates 2009 headlights. In photographing it (badly, in her own between landscape, however ordinary, and Containment, 2680 Kim Light / Lightbox, Los estimation), she transformed her own practice, abstraction. It deftly transforms the everyday Angeles (solo) setting her work on a new path, one less about into something magical, a feat to be sure, but Eco-Logic, Cypress College Art Gallery, looking at nature and more about looking at more important to her project, I think, is the Cypress, CA looking, a metacognitive approach that grounds way the painting becomes something that is the new paintings but sounds much headier than neither here nor there, not the journey nor the Selected Bibliography the actual emotional, perceptual, and aesthetic process but a finite and distinct collision of light Lewis, Joseph. “Samantha Fields at Kim experiences that they engender. and time and memory catapulted slowly and Light / Lightbox.” Art in America 95 (October Fields has continued to paint from what carefully into being. 2007): 221. she refers to as “failed photographs” while Melrod, George. “Eden Is Burning.” Art ltd. also taking new pictures of the landscape, Annie Buckley (March–April 2010): 30. intentionally photographing through blurry Myers, Holly. “Hip, without Forgoing windows and at skewed angles, allowing the Tradition.” Los Angeles Times, March 9, imperfections of one medium to enhance and 2007. dramatize the potentiality of another. Using a camera equipped with a high-speed lens capable of shooting in low light, she is able to capture the glow and lurch of nocturnal scenes often missed by the casual viewer, particularly one sitting in a car speeding down a freeway. Through a meticulous process of spraying fine mists of paint, layer upon layer, over a smooth canvas, Fields continues to expand on the integration of would-be flaws in the photographic process, painting in sun spots that showed up on images of works-in- progress as well as the elegant hexagonal lens flares produced by a particular camera.

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Almost, 2013, acrylic on canvas, 8 x 10 inches; 34 Eugene 2, 2013, acrylic on paper, 54 x 42 inches; courtesy of the artist and Western Project 35 courtesy of the artist and Western Project C.O.L.A. 2013 Individual Artist Fellowships

Passenger, 2013, acrylic on canvas, 50 x 60 inches; 36 Eugene 3, 2013, acrylic on paper, 54 x 42 inches; courtesy of the artist and Western Project 37 courtesy of the artist and Western Project C.O.L.A. 2013 Individual Artist Fellowships JUDITHE HERNÁNDEZ Judithe Hernández Judithe Hernández: humanizes and empowers them, and unlike Mysteries Reclaimed, Voices Unbound Picasso’s women, who are distant and emo- Born 1948 in Los Angeles tionally absent, all but one of Hernández’s Lives and works in Los Angeles Judithe Hernández is a pioneer. At sixteen, she engage the viewer with their gazes. Intense, (Highland Park) became the first recipient of the Future Masters beautiful, their minds at work, they are gathered Scholarship (1965), enabling her to attend Otis together as a unit. The central seated figure Education Art Institute. In 1974 she was the first Chicana suggests self-assurance and independence, as MFA, drawing and sculpture, to earn an MFA for her scholarly examination does the figure in another of Hernández’s new Otis Art Institute, Los Angeles, 1974 of the emergent iconography of Chicano art works, L’épée de Sainte Jeanne (2013), who BFA, drawing and sculpture, and accompanying visual portfolio. She is the is seemingly ready to lunge forward. Setting Otis Art Institute, Los Angeles, 1972 only woman ever invited to join the seminal aside Picasso’s cubist perspective, Hernández Chicano artists’ collective Los Four; she also introduces a philosophical facet. The enigmatic Selected Exhibitions distinguished herself during the Los Angeles figure—her arms crossed over her chest, her 2011 mural renaissance of the 1970s by mixing eyes closed—is meditative and solemn. The La vida sobre papel, National Museum classical compositions with urban calligraphy, artist challenges the viewer to consider her of Mexican Art, Chicago (solo) pushing the aesthetic boundaries between significance given the title of the work. These L.A. Xicano: Mapping Another L.A.; fine art, graffiti, and folk art. In 1983 her solo women reside within our current reality: they are The Chicano Art Movement, Fowler exhibition at the Cayman Gallery in New York the maidens of the barrio, women in charge of Museum at UCLA, Los Angeles (part of made her the first Chicana to extend her artistic themselves and more. Pacific Standard Time: Art in L.A. 1945–1980) 1989 reach beyond the West Coast. Each of these new works has the Le démon des anges: 16 artistes Chicanos Hernández has always sought out haunting, lyrical quality that we have come to autour de Los Angeles, Halle du Centre de the unexpected. Her inspiration emerges expect from Hernández: a multidimensional Recherche pour le Développement Culturel, from poetry, urban vernacular, women’s aesthetic and intellectual perspective offered Nantes, France experiences, Mesoamerican cosmology, and by a mature artist who has attained complete 1983 Catholic narratives. The mixed-media work mastery of her medium. Judithe Hernández: Works on Paper, produced for the C.O.L.A. fellowship is clearly Cayman Gallery, New York (solo) grounded in the Western artistic traditions of Karen Mary Davalos 1978 Renaissance portraiture and the modernist The Aesthetics of Graffiti, San Francisco concern for surface and process. Yet her work Museum of Modern Art is not derivative. She explores philosophical 1975 questions regarding humanity, filtered through Los Four, Oakland Museum, Oakland, CA the lens of Chicana/o iconography and mythology. Throughout her career she has Selected Bibliography interpreted the female form as a universal Costa, Octavio. “Instantaneas, tiempo y human figure rather than a portrait of an muerte en la pintura de Judithe Hernández.” individual. Visual precedent also includes the La Opinión, August 3, 1979. nineteenth-century symbolists, for whom the Noriega, Chon A., Terezita Romo, and female figure was central, portrayed as a Pilar Tompkins Rivas, eds. L.A. Xicano. virgin or seductress. Hernández rejects this Los Angeles: UCLA Chicano Studies patriarchal visual vocabulary of objectification Research Center Press, 2011. by delineating calm, emboldened women Rechtman, Ana. “La vida sobre papel, warriors; self-possessed luchadoras armed una exposición de Judithe Hernández.” for battle and rebirth. These are women of Contratiempo, April 2011, http:// divine grace whose deerlike purity symbolizes contratiempo.net/2011/04/la-vida-sobre- their ancient elemental nature. The deer—an papel-una-exposicion-de-judithe-hernandez/. indigenous symbol of creation, human origins, and the feminine—provides multilayered meaning throughout this series and is evocative of womanhood’s intrinsic power. The centerpiece of Hernández’s C.O.L.A. project is Les Demoiselles d’Barrio (2013), in which she offers an alternative interpretation of one of modern art’s most compelling works: Pablo Picasso’s Les Demoiselles d’Avignon (1907). Like Picasso, Hernández stages a tab- leau vivant, but although she incorporates visual echoes of the original, she rejects his objectification of the female figures. Hernández

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Las Luchadoras, from The Luchadora Series, 2010; pastel on paper; 30 x 44 inches 41 C.O.L.A. 2013 Individual Artist Fellowships

The Punishment of Eve, from The Adam & Eve Series, 42 The Trophy, from The Luchadora Series, 2010; pastel on paper; 44 x 30 inches 43 2010; pastel on paper; 44 x 30 inches C.O.L.A. 2013 Individual Artist Fellowships CAROLE KIM Carole Kim Carole Kim common ground with the other people in the darkened room. At the same time, Kim exhorts Born 1961 in Cambridge, MA Carole Kim gives little direction about how to her viewers to let go of the ways in which we see Lives and works in Pasadena, CA openly engage her multimedia performances, and listen in order to viscerally apprehend how which integrate the moving image, theatrical we become aware of and bound to the world. Education elements, experimental music, and dance, In a kind of improvisational call-and-response MFA, integrated media/film/video, California conjuring a feeling of mixed anticipation with a revolving roster of musicians, dancers, Institute of the Arts, Valencia, 2003 and wonder. Drawing on Jacques Lacan’s and writers, she both mediates and invites the MFA, printmaking, Cranbrook Academy of discussion of the mirror image as “the threshold viewer to respond, by way of encouraging the Art, Bloomfield Hills, MI, 1987 of the visible world,” Kaja Silverman elaborates, viewer’s mind to wander, be it to the threshold BA, studio art, Brown University, Providence, in her book of that title, the processes of another dimension or back to the present RI, 1984 of identification and desire. Silverman’s moment. Reconfiguring, condensing, and definition of looking—in which “to look is to translating this experience into stand-alone Selected Exhibitions and Projects embed an image within a constantly shifting installations at the Los Angeles Municipal Art 2012 matrix of unconscious memories”—aptly Gallery will be a challenge that I anticipate Kim Furnace, site-specific installation and describes Kim’s recent series of collaborative will meet with rigor and intelligence. performance, Automata, Los Angeles; with performances.1 Against layers of hanging mesh Scott Cazan, Phil Curtis, Jesse Gilbert, Moses Hacmon, Odeya Nini, Oguri, Morleigh scrims, projections of light, moving bodies, and Susette Min Steinberg, Roxanne Steinberg live-feed video, images collide and converge, CC’ (Carole Kim/Carmina Escobar): Filamen- dematerialize and engender multiple scopic Notes to, live video installation and performance, planes, or what Kim describes as an “amplified 1. Kaja Silverman, The Threshold of the Open Gate Theater Series @ the Moose hybrid phenomenological space.”2 Maurice Visible World (New York: Routledge, 1996), 3. Lodge, Glendale, CA Merleau-Ponty described perception as “not 2. Carole Kim, quoted in Los Angeles Municipal 2011 a science of the world . . . not even an act . . . Art Gallery, C.O.L.A. 2013, http://www.lamag. Burrow, site-specific installation and perfor- it is the background from which all acts stand org/?page_id=2300. mance, Lehrer Architects, Los Angeles; with out, and is presupposed by them. The world is 3. Maurice Merleau-Ponty, preface to Phil Curtis, Lyn Horton, Shel Wagner Rasch, not an object such that I have in my possession Phenomenology of Perception, trans. Colin Theresa Wong the law of its making; it is the natural setting of, Smith (London: Routledge, 2002), xi–xii. Scan, AxS Festival 2011: Fire and Water, and field for, all my thoughts and all my explicit Wind Tunnel Gallery, Art Center College of perceptions.”3 Engaging this notion, Kim invites Design South, Pasadena, CA; with Aaron the viewer to be aware of the act of perceiving. Drake, Jesse Gilbert, Moses Hacmon, Oguri, Her ethereal environments serve on one level Roxanne Steinberg as a folding and unfolding of depth and on 2010 another level as a threshold of the visible. In one ear . . . and in another: Iteration #1, These ideas are perhaps best clarified collaborative live-feed video installation, by a brief discussion of Scan (2011), a Holter Museum of Art, Helena, MT multimedia installation that integrated video, 2009 N1, video installation, New Original Works live music, dance, and live-feed video. Playing Festival, REDCAT, Los Angeles; with Alex on the multiple significations of the word Cline, Dan Clucas, Oguri, Moses Hacmon, scan, including to gloss over and to examine Adam Levine closely, the performance metaphorically evokes the process of “scanning” through which sense data is broken down, built up, Selected Bibliography and transferred. In Scan, Kim deftly uses light Lewin, Marla. “A New Voice at the REDCAT’s and movement in a participatory exchange with New Original Works Festival.” Global Film musicians and dancers. Altering perception Village, August 31, 2009. through fissures of form—the scrim suddenly fractures into filaments, which in turn unravel Lincoln, Marga. “Where Silence Meets and reveal liminal or interstitial spaces—she Cacophony.” Helena Independent Record, October 21, 2010. presents a loose narrative in which laboring bodies continually transform, disappear, and Looseleaf, Victoria. “NOW Festival at reemerge in correspondence with the falling REDCAT.” Los Angeles Times, July 31, 2009. stream of mutating elements projected on the screen. Such distortion and augmentation of perceptual boundaries evoke a need in the viewer to find some kind of anchor in memory and imagination or in the iterative traces of a dancer’s movement and/or to share some

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VAULT #2: Rings, 2013; video projection 46 VAULT #1: Understory, 2013; video projection 47 installation; sound by Toshimaru Nakamura installation; sound by Toshimaru Nakamura (Egrets/Samadhisound); 144 x 96 x 174 inches (Egrets/Samadhisound); 144 x 96 x 174 inches C.O.L.A. 2013 Individual Artist Fellowships

Furnace, 2012; site-specific installation on two floors, Automata, LA; 49 dancers: Morleigh Steinberg (left), Oguri (right) C.O.L.A. 2013 Individual Artist Fellowships NERY GABRIEL LEMUS Nery Gabriel Lemus Nery Gabriel Lemus: video, he draws us into the life of his mother, At the Intersection of Opposing Forces who immigrated to the United States from Born 1977 in Los Angeles Guatemala. Lives and works in Altadena, CA The first time I visited Nery Gabriel Lemus’s In 2012 Lemus organized a group studio, I encountered a drawing of two combs exhibition titled after James Baldwin’s Education intersecting, forming an X floating over the autobiographical novel Go Tell It on the MFA, California Institute of the Arts, white ground: one comb thin and blue, teeth up, Mountain.2 Published in 1953, Baldwin’s Valencia, 2009 the other brown with a tan streak and a handle, novel examined the paradoxical role of the Skowhegan School of Painting and its teeth down and penetrating the prone blue Christian church in the African American Sculpture, Skowhegan, ME, 2008 object. It’s a provocative, even violent image but community—on the one hand, offering BFA, Art Center College of Design, typical of Lemus’s approach in that the drawing inspiration, if not salvation, and on the other, Pasadena, CA, 2007 is as fastidious as it is calculated to cut in several serving up hypocrisy and repression. Through directions at once. Titled Wylin Out (2007), the a diverse selection of artists—including Rev. Selected Exhibitions 2013 work is only one component of a larger project Ethan Acres, Andrea Bowers, Nikki Pressley, A Hero Ain’t Nothin’ but a Sandwich, on and around the fade—a hairstyle (or really a and Erika Rothenberg—whose varied works Charlie James Gallery, Los Angeles (solo) category of styles rife with variation) shared by seemingly address this duality, Lemus 2012 African American and Latino communities. The expanded outward from his own focus on the Made in L.A. 2012, organized by the fade is, of course, a haircut that stands in for intersection of opposing forces. Beyond simply Hammer Museum and LA>Mexico for Project Row Houses in Houston, he adapted Breaks and the Shadows Flee was included in imagery depicting domestic violence from Made in L.A. 2012 at the Los Angeles Municipal Selected Bibliography inexpensive Mexican graphic novels, painting Art Gallery. Feil, David A. “Round 33: The Seventh the panels in a grid directly on the gallery walls 2. Go Tell It on the Mountain was on view at House.” Art Lies, no. 68 (Spring–Summer 2011). http://www.artlies.org/article.php?id= in flat sepia brown. Removing the text from Charlie James Gallery, Los Angeles, January 2051&issue=68&s=0. the speech bubbles in the original images, he 14–February 18, 2012, and presented with reshaped the narrative to further emphasize additional artists at the California African Griffin, Jonathan. “Made in L.A. 2012.” the desperate intensity of these interpersonal American Museum, Los Angeles, October 4, Frieze, no. 149 (September 2012). https:// confrontations as well as the insidious and 2012–April 7, 2013. www.frieze.com/issue/review/made-in- pervasive nature of such imagery in popular la-2012/. “entertainment.”1 In Alfombra Domestica Hunt, Amanda. “Nery Gabriel Lemus.” (2012), Lemus adopted the traditional In Made in L.A. 2012, by Anne Ellegood et al., multihued Guatemalan rug made from dyed 227, 247–50. Los Angeles: Hammer Museum; sawdust while incorporating stenciled text in Munich: DelMonico Books • Prestel, 2012. Spanish and English bluntly bearing witness Jao, Carren. “Domestic Affairs: The to domestic abuse (“Machismo mata todos Poetically Political Art of Nery Gabriel los dias,” “He says it won’t happen again,” Lemus.” Artbound, KCET, February 20, and so on). For the opening of Made in L.A. 2013. http://www.kcet.org/arts/artbound/ 2012, the work was positioned at the entrance counties/los-angeles/nery-gabriel-lemus- of the Los Angeles Municipal Art Gallery, and charlie-james-gallery.html. these straightforward messages were rendered illegible, the explicit signals of trauma blurred Selected Awards and Honors to abstraction, as viewers walked across the 2013 rug and activated its fugitive surface. If the The Rema Hort Mann Foundation Award work’s construction was labor-intensive, then its obliteration was startlingly sudden. For the 2013 C.O.L.A. exhibition, Lemus will further investigate his Guatemalan heritage through the topic of immigration: using painting and

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My Mother Did Not Come from Outer Space, 2013; 52 She’s Always Known That She’s Not a Wetback, 53 De Guatemala a Guatepeor, 2013; oil on canvas; oil on canvas; 41 x 72 inches; courtesy of the artist 2013; oil on canvas; 41 x 72 inches; 24 x 22 inches; courtesy of the artist and Charlie and Charlie James Gallery courtesy of the artist and Charlie James Gallery James Gallery C.O.L.A. 2013 Individual Artist Fellowships REBECA M É NDEZ Rebeca Méndez Rebeca Méndez: her observations about human and animal Circum/bi/polar migration, Méndez has created Circum/ Born 1962 in Mexico City bi/polar, which is included in the C.O.L.A. Lives and works in Los Angeles (Westwood) In 2010 Rebeca Méndez traveled to Long- exhibition. Professor, Design Media Arts, yearbyen, the largest city in Norway’s Svalbard Circum/bi/polar consists of photographs University of California, Los Angeles archipelago, to join an international group of and a projected video. The six 32-by-48-inch artists, scientists, architects, and educators photographs show various aspects of the Education on an Arctic expedition. Participating in a research village at Ny-Ålesund, including the MFA, Art Center College of Design, three-week residency program aboard the scientists at work and the surrounding Arctic Pasadena, CA, 1996 Noorderlicht, a two-masted ice-class sailing landscape; an 80-by-56-inch photograph shows BFA, design, Art Center College of Design, vessel, the group explored one of the most the arctic tern in flight. The video spotlights a Pasadena, CA, 1984 remote and unusual places on earth. Among journey the artist took to a remote location in the locations the participants visited was Svalbard, where, in the midst of a blizzard, she Selected Exhibitions the research village of Ny-Ålesund, where attempted to plant the Mexican flag. Carrying 2012 scientists from Norway, the Netherlands, out an act that the Spanish conquistadores Rebeca Méndez: At Any Given Moment, Germany, the United Kingdom, France, India, would routinely perform when they arrived at a Nevada Art Museum, Reno (solo) Italy, Japan, South Korea, and China come to new post in the New World, the Mexican-born Each Day at Noon: Rebeca Méndez, work, remaining for one to two years before Méndez tried to claim this inhospitable land on Café Hammer, Hammer Museum, returning to their home countries. They journey behalf of her native country. Appearing as a tiny Los Angeles (solo) 2011 back and forth dozens of times in the course black speck on an immense white landscape, Rebeca Méndez, Museum of Contemporary of their scientific investigations, establishing a the artist struggles to accomplish her mission Art, Oaxaca, Mexico (solo) periodic migratory pattern not unlike those of until the intense winds tear the flag out of her 2009 many animals and birds. hands: she ultimately accepts the futility of her X Bienal de Arte, Cuenca, Ecuador Méndez had initially heard about the efforts and walks away. 2004 arctic tern from her husband, Adam Eeuwens, Circum/bi/polar is a visual study of the Rebeca Méndez: Iridescent, Laguna College who had spotted it while living in Iceland; she understanding of human existence and its of Art and Design, Laguna Beach, CA (solo) finally got to see the bird herself in 2006, during interconnection with the earth, as well as an 1998 a residency there. On her visit to Svalbard she attempt to come to terms with this relationship. Rebeca Méndez: Selections from the became reacquainted with this extraordinary According to Méndez, her expedition to the Permanent Collection of Architecture and creature and its migratory existence. Traversing polar region has led her to see the world in Design, San Francisco Museum of Modern the globe from north to south and back, this more precise ways than ever before: observing Art (solo) member of the family Sternidae is a tireless the arctic tern’s behavior has sharpened her migrant whose medium-size frame effectively awareness not only of life’s vulnerability but Selected Bibliography conceals its almost unnatural stamina: an inner also of the ability of living creatures to triumph Bradner, Liesl. “On View: ‘Energy’ at Art force compels the bird to undertake an annual over extreme circumstances. By taking the bird Center College of Design in Pasadena.” circumpolar migration totaling 44,300 miles. It as the subject of an ongoing art project, she Los Angeles Times, October 24, 2010. flies from the North Pole, over the west coast of aims to draw parallels between its life and her Hodge, Brooke. “Seeing Things: ‘Getting Africa and the east coast of Brazil, and arrives own. Circum/bi/polar is one more step in this Upper.’” T Magazine (blog), New York at the South Pole, where it settles down for the direction. Times, May 12, 2011. http://tmagazine.blogs winter. With the arrival of spring, the arctic tern .nytimes.com/2011/05/12/seeing-things- retraces its journey to the North Pole. Catching Alma Ruiz getting-upper/?ref=t-magazine. the trade winds north of the equator, it will Schwarz, David. Strangest Thing: An arrive at its destination in the month of June, in Notes Introduction to Electronic Art through time to nest. This pattern will be repeated every Rebeca Méndez’s expedition to Svalbard the Teaching of Jacques Lacan. London: year during the bird’s life span of approximately in 2010 was supported by a California Routledge, forthcoming. thirty years. Community Foundation Fellowship. Méndez’s channeled her incipient interest Selected Awards and Honors in the life and migratory habits of the arctic tern 2012 into a poster that she designed in collaboration National Design Award, Communication with Eeuwens for the eleventh edition of the Design, Cooper-Hewitt, National Design International Poster Biennial of Mexico in 2010. Museum, Smithsonian Institution Seeing the bird again in Ny-Ålesund gave her the impetus to commence a project that would help her understand what she refers to as “the edges of the world”—remote, extreme, and often precariously fragile environments— and their relationship to our lives. Pairing her own experiences in the Arctic Circle with

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80° 01’ 00” N, 2013; archival ink-jet print; 56 Glacier Ice 1 (Monacobreen), 2013; archival ink-jet print; 32 x 48 inches 57 32 x 48 inches C.O.L.A. 2013 Individual Artist Fellowships

Never Happened Again, Glaciers 2, 2012; single- 58 Circum/bi/polar 1 (Arctic Tern), 2013; archival ink-jet print; 80 x 56 inches 59 channel video projected at architectural scale, color, silent; 8:48 minutes C.O.L.A. 2013 Individual Artist Fellowships REBECCA MORRIS Rebecca Morris Rebecca Morris: And they are articulate in another way too. Some Observations In Morris’s paintings, spaces within their spaces Born 1969 in Honolulu are articulated by outlines, or perhaps a shape Lives and works in Los Angeles The watercolor paint that Rebecca Morris uses is underlined, or maybe a space is delineated (Lincoln Heights) to make her drawings is fugitive, requiring great by a clean metallic glimmer overlaid on a dingy, attention and control, assuredness and an paint-spattered canvas. These demarcations Education economy of means, the exacting and decisive are not structures laid bare, nor are they merely MFA, School of the Art Institute nature of an expert calligrapher. Each drawing marks; they are subjects unto themselves with of Chicago,1994 is refined, like a letter in an alphabet. How all the richness and history of a letterform in an Skowhegan School of Painting and long did it take for the letterform R to emerge alphabet. In proximity to one another, strung Sculpture, Skowhegan, ME fully formed, with its lanky vertical, its graceful together in contiguous patchworks, leafed Postbaccalaureate studio certificate, curve, and its sassy kick to the side? How many together and interwoven, these utterances School of the Art Institute of Chicago, 1992 manuscripts were illuminated before the twin take shape and make meaning. Grids drawn BA, Smith College, Northampton, MA, 1991 summits of the letter M unveiled their stately with a wobbly freehand, intentionally dripping peaks? The first time Morris showed me her and bleeding: these are a grammar. Outlines Selected Exhibitions drawings, I looked at each one and had the and underlines are punctuation, defining and 2013 same thought over and over: for this one that completing ideas. Color is poetry, but when Southafternoon, Kunsthalle Lingen, I am holding here, how many were made and it really sings, it becomes even more intimate: Lingen, Germany (solo) thrown aside? Each one seemed elemental, it is timbre. The gestures are letters, and the 2012 Phantom Limb: Approaches to Painting crystalline, and reductive. Her drawings breathe composition is the story they tell. Today, Museum of Contemporary Art, a palpable energy, the result of the combination Chicago of tremendous skill and immense desire in a Corrina Peipon 2010 great exhalation of strange beauty through Harris Lieberman Gallery, New York (solo) improvisation. Ambigu: Contemporary Painting between There is a casual vibe to Morris’s paintings, Abstraction and Narration, Kunstmuseum but it’s important that I qualify what I mean by St. Gallen, St. Gall, Switzerland “casual.” The paintings are not superficial or 2006 noncommittal. Not in the slightest. And they For Abstractionists and Friends of the aren’t informal or messy either. But they do Non-Objective, Galerie Barbara Weiss, privilege personal expression over convention Berlin (solo) and conformity. They are cool. They have the 2005 kind of cool, casual feeling that signals mastery. Rebecca Morris: Paintings, 1996–2005, They are cool in the way that only something Renaissance Society at the University that is so totally itself and unlike anything else of Chicago (solo) can be. This kind of cool comes from tending to details with limitless fascination, from repeating Selected Bibliography gestures over and over. It’s not to be mistaken Smith, Roberta. “Rebecca Morris.” for mannerism, though. What I’m talking about New York Times, January 7, 2011. here can’t be achieved through mimicry. What Westfall, Stephen, and Diedrich I’m talking about here can come only from a Diederichsen. Rebecca Morris: Paintings, long journey into one’s calling. It has to be 1996–2005. Chicago: Renaissance Society earned. at the University of Chicago, 2005. Abstraction is not an esoteric or rarified Wilson, Michael. “Rebecca Morris, Harris language; it is all around us, all the time. The Lieberman.” Artforum 49 (February 2011): 228. palette and vocabulary of marks and shapes in Morris’s paintings have a direct relationship to contemporary life, suggesting that painting exists within rather than outside of or adjacent to the mundane. The space of painting is not immune to the forces of the world beyond it. Paintings are not above, outside of, or separate from the rest of the world. They are part of the conversation. Morris’s paintings are a peculiarly articulate voice in this conversation. As an amalgam of gestures, meaningfully arranged, they present themselves to us in an articulate way. They are assertive and plainspoken. They state their case clearly.

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Untitled (#07-13), 2013; oil on canvas; 80 x 82 inches 62 Untitled (#06-13), 2013; oil on canvas; 87 x 80 inches 63 C.O.L.A. 2013 Individual Artist Fellowships

1 Untitled (#05-13), 2013; oil on canvas; 79 x 79 inches 64 Untitled (#02-13), 2013; oil on canvas; 106 x 80 /2 inches 65 C.O.L.A. 2013 Individual Artist Fellowships MALATHI IYENGAR Malathi Iyengar Malathi Iyengar ultimately it is an intensely personal one, as we are all part of it. In her C.O.L.A. project, Iyengar Born 1954 in Bangalore, India Malathi Iyengar has just handed me a cool glass will tell her own story of navigating within the Lives and works in Sherman Oaks, CA of homemade almond milk. I am embarrassed West when her soul is in the East, an unfolding to tell her that, as a Minnesota native, I am journey of identity on a changing cultural map. Education tasting it for the very first time. Suddenly on As I finish the last of her miraculous soup, MFA, dance (choreography and a new journey, I automatically turn on my Iyengar is laughing while simultaneously being performance), University of California, internal GPS, which tries to triangulate familiar ruthlessly blunt about herself. She has never Los Angeles, 1996 guideposts using wine vernacular: strong choreographed such a personal, modern story Professional Designation Certificate mahogany-nut foundation, round mouth feel, using the evolving physical vocabulary of (art and design), University of California, notes of cardamom, saffron, sweet yet not Bharatanatyam dance. Quite frankly, it frightens Los Angeles, 1977–80 cloying, with a brightly refreshing finish. Next her. But as a true artist, she is propelled forward BS, chemistry, botany, and zoology, there’s her glistening tomato rasam soup, and by her intense curiosity and courage. My seat Bangalore University, Bangalore, India, 1972 I’m transported again to a new world. belt is now on. . . . I’m ready for the ride! The United States has historically been Selected Performances considered part of “the New World,” and Los Christopher Taylor 2010 Angeles is the current epicenter of that identity. Shivaya, Rangoli Dance Company, Nate Holden Performing Arts Center, With more than five hundred miles of freeways Los Angeles, and Scherr Forum Theatre, and 45 million trips per day by Angelenos Thousand Oaks Civic Arts Plaza, Thousand speaking more than two hundred languages, Oaks, CA there are infinite journeys to be taken. Los 2009 Angeles is a piece of rangoli art, a mandala Paintings of the Divine, Barnsdall Gallery made with peacock-hued flower petals, Theatre, Los Angeles flour, rice, sand, and people. When you meet 2008 Malathi Iyengar, you’ll find yourself at a creative Patanjali, Santa Monica College Performing launch point, and before you can fasten your Arts Center, Santa Monica, CA seat belt, you’re off! Navigating the cultural 2005 freeway of L.A. forces all of us to evolve, to Rangoli Dance Company performances, ask questions about our own cultures, our Madrid Theatre, Canoga Park, CA identities, ourselves. 2004 Being awarded a C.O.L.A. Individual Artist Punyakoti, Julia Morgan Theatre, Berkeley, Fellowship provides a new creative path for CA this brilliant choreographer, dancer, writer, and visual artist. Iyengar met her husband only five Selected Bibliography days before their arranged marriage and within Iyengar, Malathi. Dance and Devotion: eight months had moved from Bangalore, India, A Hand Book on Bharatanatyam Dance to Los Angeles. She then pursued a fierce and and Traditional Prayers for Students Pursuing Indian Classical Dance. innovative trajectory beyond the confines of Sherman Oaks, CA: Rangoli Foundation what is considered a conventional life for an for Art and Culture, 2004. Indian woman, leading the Rangoli Foundation for Art and Culture for more than twenty-five years on a journey with dancers and audiences. This courageous creative path of persistent exploration has an inherent contradiction. The classical Indian dance form known as Bharatanatyam has a long history, and while she embraces this tradition, Iyengar continually develops and extends it, transcending her culture by learning from other cultures. In this way she strives for universality in movement, music, and stories. This is a story that is being written now, as the global community inexorably becomes more intertwined. People around the world are beginning to truly connect in a new global culture and are struggling to acknowledge a shared humanity. As with all myths and legends, the scale of this story may be great, but

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68 Paintings of the Divine, 2009 Punyakoti, 2004 Paintings of the Divine showcases original choreography by Malathi Inspired by a folk tale from India, Punyakoti is the story of a pious and truthful cow. This Iyengar that reveals the splendor of Bharatanatyam, classical dance of simple and moving story ends with a moral about the triumph of truth telling. Malathi India. The performance features vibrant technique and storytelling. Iyengar’s choreography is designed specially for families and children. C.O.L.A. 2013 Individual Artist Fellowships MICHAEL WHITE Michael White Michael White: major albums that included more than forty- Divine Vehicle five compositions, and he toured nationally Born 1930 in Houston and internationally. Albums such as Spirit Lives and works in Los Angeles Emanating a rippling aura, shining and bright, Dance, Pneuma, and The Land of Spirit and he slowly walked up to the stage. He was just Light have been reissued in recent years, some Education as free as a bird, soaring, his energy resonating four decades after their original release dates, Music studies, Contra Costa College, through the whole band and his warm, unique as a result of high demand from new and old Richmond, CA, 1948 sounds embracing the entire club. I was simply listeners alike, who call Michael their “Spiritual mesmerized by him. “Who is this man?” I Jazz Master.” Selected Performances wondered. I really loved his sounds, and my A young artist named Edward LaRose 2011 inner voice said clearly, “Someday you will play wrote to us: “Listening to Michael for the first Michael White Quintet, tour the ARTS.MWQ, music with him.” Next thing I knew, he was off time I instantly felt changed. As if his sound Croatian Cultural Center of Greater Los the stage and came to my table, saying, “I opened another dimension. . . . These listening Angeles, San Pedro, CA am not trying to pick you up, but can I sit next moments are rites of passage, where the music 2010 to you? I like your energy.” This was my first educates you and changes the course of your Michael White and Leisei Chen, Alice encounter with Michael White, in 1993. life. For me the example of Michael White, the Coltrane Tribute, Royce Hall, University of Ten years later, miraculously, we reunited. man with the violin was something that I always California, Los Angeles Michael said that for many years he had been returned to. . . . Here is this man who recorded 1977 looking for a unique sound, which would entail this beautiful music; in it you can hear wisdom, Michael White Quartet, FESTAC ‘77, Lagos, Nigeria a female voice, to complete the concept of love, and enlightenment. The example of your 1973 his band. When I later joined his recording devotion and integrity has inspired me to also Michael White Quartet, Montreux Jazz project Voices, I witnessed how he drew the be a man of integrity.” Festival, Montreux, Switzerland best out of all the musicians, making space for As we put it in the description of Michael’s 1965 creativity and allowing uniqueness to blossom 2013 C.O.L.A. project, Orbit: “The roots of John Handy Quintet, Monterey Jazz Festival, individually and collectively. He weaves in, Jazz have always reflected ancient wisdom Monterey, CA spontaneously and organically, his blessed and universal spirituality. The concept of Orbit 1962 quietness, kindness, and peace while driven entails the universe, space, and the inhabiting John Coltrane Quartet with Special Guests, internally by a rich reservoir of passion. He of celestial bodies. Orbit is a portal of energy Jazz Workshop, San Francisco lives in the now: the essence of jazz. Michael that permeates the cosmos and our human reminded me how, in jazz, synergy between inner universe. The orbit of Venus traces the musicians is of the highest importance. Soon shape of hearts, emanating divine love. The Selected Bibliography we became partners in life and music, pursuing music of Orbit reflects universal oneness.” Buti, Luca. “Michael White Quintet: Note our mutual artistic visions and endeavors, This vision is to be presented with Michael’s acute che suonano universali.” Jazz Maga- staying true to our cores—the spiritual energy beloved band members and jazz master zine (Italy) 57 (August 1, 2007): 32–33. of Love, Healing, Inspiration, Hope. The musicians—Leisei Chen (vocals), Michael Kuramoto, Kenichi. “Michael White.” Michael White Quintet was born, and it became Howell (guitar), Heshima Mark Williams (bass), In Spiritual Jazz: Jazz Next Standard our life’s vital mission. and Kenneth Nash (percussion)—who together (Japanese), by Mitsuru Ogawa, 78–79. Tokyo: As time went on, I discovered that form the Michael White Quintet. Ritto– My–ujikku, 2006. Michael White is also a truly groundbreaking living legend, a jazz violinist and composer Leisei Chen “Michael White.” In The Rough Guide to whose spirit, vision, and sound continually Jazz, by Ian Carr, Brian Priestley, and Digby Fairweather, 856–57. 3rd ed. London: Rough open and heal the bodies, minds, and spirits of listeners around the world. His musical life Guides, 2004. began more than seven decades ago with his Western classical training under maestros from Germany and Italy and his performance as the first black violinist in the Young People’s Symphony of Berkeley. Later he set aside some of his classical training in order to innovate his own techniques and cultivate a sound that he felt suited violin as a solo leading instrument in jazz and modern music. Michael also worked his way through tradition to progressions of jazz. He performed with luminaries such as John Coltrane, Sun Ra, Pharoah Sanders, and countless others and was cofounder of the first jazz fusion band, the Fourth Way. As a leader he composed and recorded twelve

70 C.O.L.A. 2013 Individual Artist Fellowships

Michael White, from the Impulse Records album Go with the Flow (1974) Michael White performing with the Michael White 73 Quintet at Eastside Cultural Center, Oakland, 2012 C.O.L.A. 2013 Individual Artist Fellowships

WORKS IN THE EXHIBITION

Visual Artists Stone and Tapestry, 2012–13 Eugene 3, 2013 Carole Kim Arctic Sea 1, 2013 Performing Artists Cotton, silk, wool, dye, powder-coated steel, Acrylic on paper Archival ink-jet print Lisa Anne Auerbach silver, cement, stone, wood 54 x 42 inches VAULT #1: Understory, 2013 32 x 48 inches Malathi Iyengar 84 x 60 x 24 inches Video projection installation American Megazine #1, 2013 Everyone Loves This Place, 2013 Sound by Toshimaru Nakamura Circum/bi/polar 1 (Arctic Tern), 2013 Video of choreography and performance 24-page megazine Untitled (Standing Weave), 2012–13 Acrylic on canvas, (Egrets/Samadhisound) Archival ink-jet print excerpts: Shri Ganesha (2009), Bhavayami 60 x 39 inches (page size) Wool, linen, urethane 28 x 34 inches 144 x 96 x 174 inches 80 x 56 inches Gopalabalam (2009), Shivaya (2010) 80 x 21 x 12 inches 28 minutes American Megazine #1 (cover), 2013 Madison, 2013 VAULT #2: Rings, 2013 80° 01’ 00” N, 2013 60 x 39 inches World Line, 2012–13 Acrylic on canvas Video projection installation Archival ink-jet print Michael White Hydrocal, cardboard, jute, dye, steel, 52 x 80 inches Sound by Toshimaru Nakamura 32 x 48 inches American Megazine #1 (inside spread), 2013 enamel paint (Egrets/Samadhisound) Inspirations for “Orbit” 60 x 78 inches 77 x 70 x 30 inches Passenger, 2013 144 x 96 x 174 inches Glacier Ice 1 (Monacobreen), 2013 Video combining examples of past musical Acrylic on canvas Archival ink-jet print work with photographs by various artists that Krysten Cunningham For a Theater of Broken Forms, 2013 50 x 60 inches Nery Gabriel Lemus 32 x 48 inches have inspired the new work Orbit. Steel, wood, spray paint 32 minutes Circle and Chains, 2012 72 x 30 x 16 inches Route 2, 2013 De Guatemala a Guatepeor, 2013 Ice Forms 1, 2013 Medium-density fiberboard, brass chain, Acrylic on canvas Oil on canvas, 24 x 22 inches Sound installation spray paint, epoxy For a Theater of Dotted Lines, 2013 48 x 48 inches Courtesy of the artist and Charlie James 11:56 minutes (loop) 77 x 22 x 5 inches Steel, wood, spray paint, dye Gallery All works are courtesy of the artist, unless 72 x 30 x 10 inches Stop, 2013 El Norte 2, 2013 otherwise noted. Filigree, 2012 Acrylic on canvas I Was a Stranger and You Welcomed Me, 2013 Single-channel video projected at Cotton, steel, enamel paint, brass wire Ramiro Diaz-Granados 28 x 34 inches HD video, color, sound architectural scale, color, silent 49 x 18 x 6 inches Approx. 20 minutes 4:26 minutes Crollopposto, 2013 Courtesy of the artist and Charlie James Judithe Hernández Gold Talus, 2012 4 large framed prints Gallery Ny Ålesund Arctic Research Station 1, 2013 Cotton, polyester, acrylic polymer 36 x 84 inches each Archival ink-jet print The Ascension, 2013 38 x 26 x 4 inches 2 large objects My Mother Did Not Come from Outer 32 x 48 inches Acrylic, paper, and pastel on archival panel 84 x 42 (diam.) inches Space, 2013 30 x 40 inches Partial Fold, 2012 Oil on canvas, 41 x 72 inches Ny Ålesund Arctic Research Station 2, 2013

Linen, wool, dye, polyvinyl acetate Samantha Fields Courtesy of the artist and Charlie James Archival ink-jet print Les Demoiselles d’Barrio, 2013 39 x 19 x 7 inches Gallery 32 x 48 inches Acrylic, paper, and pastel on canvas 11:10 pm, 2013 60 x 80 inches (diptych) Triangle and Chains, 2012 Acrylic on canvas She’s Always Known That She’s Not Virgohamna 1, 2013 Medium-density fiberboard, brass chain, 28 x 34 inches a Wetback, 2013 Archival ink-jet print L’Épée de Sainte Jeanne, 2013 spray paint, epoxy Oil on canvas, 41 x 72 inches 32 x 48 inches Acrylic, paper, and pastel on canvas 77 x 22 x 5 inches 11:10 pm #2, 2013 Courtesy of the artist and Charlie James 40 x 60 inches Acrylic on canvas Gallery Rebecca Morris Plaster X, 2012–13 52 x 80 inches Les Yeux du martyr, 2013 Wood, cardboard, spray paint, plaster, jute, Rebeca Méndez Untitled (#06-13), 2013 Acrylic, paper, and pastel on canvas dye, acrylic paint Eugene 1, 2013 Oil on canvas 40 x 60 inches 68 x 29 x 29 inches Acrylic on paper Never Happened Again, Glaciers 2, 2012 87 x 80 inches 54 x 42 inches Single-channel video projected at Courtesy of the artist and Harris The Purification, 2013 architectural scale, color, silent Lieberman Gallery, New York Acrylic, paper, and pastel on archival panel Eugene 2, 2013 8:48 minutes 30 x 40 inches Acrylic on paper 54 x 42 inches

74 75 C.O.L.A. 2013 Individual Artist Fellowships

C.O.L.A. HISTORY C.O.L.A. 2013 2011–12 2010–11 2009–10 2008–9 INDIVIDUAL ARTIST INDIVIDUAL ARTIST FELLOWSHIPS INDIVIDUAL ARTIST FELLOWSHIPS INDIVIDUAL ARTIST FELLOWSHIPS INDIVIDUAL ARTIST FELLOWSHIPS FELLOWSHIPS EXHIBITION: EXHIBITION: EXHIBITION: EXHIBITION: September 30–October 28, 2012 May 19–July 3, 2011 May 29–July 18, 2010 May 14–July 12, 2009 Los Angeles Municipal Art Gallery Los Angeles Municipal Art Gallery Los Angeles Municipal Art Gallery Los Angeles Municipal Art Gallery Barnsdall Park Barnsdall Park Barnsdall Park Barnsdall Park 4800 Hollywood Boulevard 4800 Hollywood Boulevard 4800 Hollywood Boulevard 4800 Hollywood Boulevard Los Angeles, CA 90027 Los Angeles, CA 90027 Los Angeles, CA 90027 Los Angeles, CA 90027

PERFORMANCES: PERFORMANCES: PERFORMANCES: PERFORMANCES: June 29, 2012 June 17, 2011 June 18, 2010 June 19 and 20, 2009 Grand Performances Grand Performances Grand Performances Grand Performances 350 South Grand Avenue 350 South Grand Avenue 350 South Grand Avenue 350 South Grand Avenue Los Angeles, CA 90071 Los Angeles, CA 90071 Los Angeles, CA 90071 Los Angeles, CA 90071 Department of Cultural Affairs Cultural ARTISTS Grant Program Visual Artists Visual Artists Visual Artists ARTISTS Visual / Design Artists Lynne Berman Anna Boyiazis Fumiko Amano Visual Artists The City of Los Angeles Department Lisa Anne Auerbach Martin Durazo Heather Carson Linda Arreola Natalie Bookchin of Cultural Affairs awards grants for Heather Flood Carolyn Castaño Sean Duffy Jane Castillo Krysten Cunningham the production, creation, presentation, Diane Gamboa Tony de los Reyes Sam Erenberg Joe Davidson Ramiro Diaz-Granados exhibition, and managerial support of art Mark Steven Greenfield Ken Gonzales-Day Mary Beth Heffernan David DiMichele Samantha Fields projects in the following areas: culture/ Steve Hurd Soo Kim Jesse Lerner Bia Gayotto Maryose Mendoza Yong Soon Min Brian C. Moss Willie Robert Middlebrook Jr. history, design, dance, media, music, literary Judithe Hernández Rika Ohara Danial Nord Michael Pierzynski Maureen Selwood arts, outdoor festivals/parades, theater, Carole Kim Dont Rhine Rebecca Ripple Eloy Torrez Nery Gabriel Lemus traditional/folk art, visual arts, and projects Performing Artists Mark Dean Veca Tran T. Kim-Trang Shirley Tse that are multidisciplinary. Rebeca Méndez Paul Outlaw Rebecca Morris Raphael Xavier Performing Artists Literary Artist Literary Artists Grants are awarded on a competitive basis Sheetal Gandhi Fernando Castro Gloria Enedina Alvarez to bring the highest-quality artistic and Performing Artists Literary Artist Ian Ruskin Bruce Bauman Joseph Mattson Performing Artists cultural services to Los Angeles residents Malathi Iyengar and visitors. Since 1990 the Department Panelists maRia Bodmann Performing Artists Michael White of Cultural Affairs has awarded more PANELISTS Ken Roht Alejandra Flores Visual Arts Lionel Popkin than $57.6 million to local artists, arts PANELISTS Visual Arts Amy Heibel Panelists Houman Pourmehdi organizations, and arts events. In 2012–13 Linda Arreola Carol Stakenas Cheng-Chieh Yu the department offered $2.2 million in Sarah Bancroft Pilar Tompkins Visual Arts Visual / Design Arts project support to more than 330 local Lauri Firstenberg Richard Amromin Panelists artists and organizations through its Anne Bray Jesse Lerner Performing Arts Joyce Dallal Cultural Grant Program. Tony de los Reyes Scott Ward Alejandra Flores Garland Kirkpatrick Visual Arts Kathy Gallegos Billy Mitchell Reina Prado Paul J. Botello C.O.L.A. Individual Artist Fellowships John Spiak Performing Arts Lionel Popkin Alma Ruiz Lisa Henry Kevin Bitterman Cindy Kolodziejski Each C.O.L.A. grant recipient was Cheng-Chieh Yu Literary Arts William Moreno Performing Arts Jawanza Dumisani Aram Moshayedi offered support to create new work that Adilah Barnes Tara Ison is showcased in a nonthematic group Literary Arts Literary Arts Mitch Glickman Marisela Norte presentation. This annual event greatly Performing Arts Michael G. Datcher Romalyn Tilghman Justin Veach benefits general audiences and honors a Adelina Anthony Katharine Haake selection of established and creative artists Bonnie Homsey Oliver Wang who live and work in Los Angeles. George Lugg Performing Arts Ben Garcia Lynette Kessler John C. Spokes

76 77 C.O.L.A. 2013 Individual Artist Fellowships

2007–8 2006–7 2005–6 2004–5 2003–4 2002–3 INDIVIDUAL ARTIST FELLOWSHIPS INDIVIDUAL ARTIST FELLOWSHIPS INDIVIDUAL ARTIST FELLOWSHIPS INDIVIDUAL ARTIST FELLOWSHIPS INDIVIDUAL ARTIST FELLOWSHIPS INDIVIDUAL ARTIST FELLOWSHIPS

EXHIBITION: EXHIBITION: EXHIBITION: EXHIBITION: EXHIBITION: EXHIBITION: May 16–July 13, 2008 May 4–June 24, 2007 April 28–June 11, 2006 May 13–June 26, 2005 May 5–June 27, 2004 June 4–July 27, 2003 Los Angeles Municipal Art Gallery Los Angeles Municipal Art Gallery Los Angeles Municipal Art Gallery Los Angeles Municipal Art Gallery Los Angeles Municipal Art Gallery Los Angeles Municipal Art Gallery Barnsdall Park Barnsdall Park Barnsdall Park Barnsdall Park Barnsdall Art Park Barnsdall Art Park 4800 Hollywood Boulevard 4800 Hollywood Boulevard 4800 Hollywood Boulevard 4800 Hollywood Boulevard 4800 Hollywood Boulevard 4800 Hollywood Boulevard Los Angeles, CA 90027 Los Angeles, CA 90027 Los Angeles, CA 90027 Los Angeles, CA 90027 Los Angeles, CA 90027 Los Angeles, CA 90027

PERFORMANCES: PERFORMANCES: PERFORMANCES: PERFORMANCES: PERFORMANCES: PERFORMANCES: June 13 and 14, 2008 May 23, 24, 25, 26, and 27, 2007 May 19, 20, 21, 26, 27, and 28, 2006 May 14; June 3, 4, and 5; June 10; May 9 and June 27, 2004 May 10, 11, 17, and 18, 2003 Grand Performances Barnsdall Gallery Theatre Barnsdall Gallery Theatre June 24, 25, and 26, 2005 Barnsdall Gallery Theatre Los Angeles Theatre Center 350 South Grand Avenue Barnsdall Park Barnsdall Park Barnsdall Gallery Theatre Barnsdall Art Park 514 S. Spring Street Los Angeles, CA 90071 4800 Hollywood Boulevard 4800 Hollywood Boulevard Barnsdall Park 4800 Hollywood Boulevard Los Angeles, CA 90013 Los Angeles, CA 90027 Los Angeles, CA 90027 4800 Hollywood Boulevard Los Angeles, CA 90027 Visual Artists Los Angeles, CA 90027 Visual Artists Judie Bamber Visual Artists Visual Artists Visual Artists Deborah G. Aschheim Erin Cosgrove Paul J. Botello Lita Albuquerque Visual Artists Cindy Bernard Andrea Bowers Joyce Dallal Aya Dorit Cypis Claudia Bucher Kaucyila Brooke Jack Butler Christiane Robbins Lewis Klahr Caryl Davis Sam Easterson Cheri Gaulke Ann Chamberlin Connie Samaras Suzanne Lacy Andrew Freeman Margaret Garcia Wayne Alaniz Healy Habib Kheradyar Lothar Schmitz Timothy Nolan Clement S. Hanami Janie Geiser William E. Jones Dan McCleary Susan Silton Stas Orlovski Rubén Ortiz-Torres Jeffery Keedy Cindy Kolodziejski Renée Petropoulos Pae White Louise Sandhaus Coleen Sterritt Hirokazu Kosaka Lies Kraal Tom Recchion Norman Yonemoto Alex Slade Lincoln Tobier Simon Leung Ernesto de la Loza John Sonsini Carrie Ungerman Fran Siegel Steve Roden Takako Yamaguchi Design Artists Literary Artists J. Michael Walker Janice Tanaka Alison Saar Jody Zellen Gere Kavanaugh Sesshu Foster Garland Kirkpatrick Tara Ison Literary Artists Literary Artist Literary Artists Literary Artist Diane Lefer Terry Wolverton Katharine Haake Wanda Coleman Performing Artists Performing Artists Luis Rodriguez Eloise Klein Healy Lynn Dally Adelina Anthony Performing Artists Performing Artists Heidi Duckler John Malpede Performing Artists Dan Kwong Performing Artists Deborah Greenfield Arthur Jarvinen Phranc Hector Aristizabal William Roper Ron George Jude Narita Larry Karush David Rousseve Phil Ranelin Sri Susilowati Michael Kearns Pirayeh Pourafar Loretta Livingston Heather Woodbury Denise Uyehara Anne LeBaron Panelists Paul Zaloom Panelists Panelists Panelists Panelists Visual Arts Panelists Visual Arts Visual Arts Miki Garcia Visual Arts Visual Arts Anne Ayres Mark Steven Greenfield Hirokazu Kosaka Derrick Cartwright Jade Jewett Visual Arts Felicia Filer Amelia Jones Ali Subotnick Rita Gonzalez Lothar Schmitz Kim Abeles Margaret Honda Kris Kuramitsu Maria Luisa de Herrera Pamela Tom Noriko Gamblin Tim Wride Tere Romo Literary Arts Asuka Hisa Irene Tsatos Pat Gomez Chris Scoates Teresa Carmody Alison Saar Takako Yamaguchi Roberto Tejada Literary Arts Cyrus Cassells Gloria Alvarez Design Arts Amy Gerstler Literary Arts Literary Arts Literary Arts Sherill Britton Frederick Fisher Ron Fernandez Eloise Klein Healy Sherrill Britton Willie Sims Petrula Vrontikis Performing Arts Katherine Haake David Hernandez Wanda Coleman Li Wen Luisa Cariaga Gary Phillips Janice Pober Aimee Liu Performing Arts Emiko Ono Paul Vangelisti Michael Mizerany Performing Arts William Roper Performing Arts Performing Arts Johnny Mori Julie Carson Nickie Cleaves Adilah Barnes Performing Arts Licia Perea Ernest Dillihay Peter J. Corpus Michael Sakamoto Eleanor Academia Nicole Werner Heidi Lesemann Pirayeh Pourafar Dorothy Stone Tim Dang Louise Steinman Renae Williams Susan Rose

78 79 C.O.L.A. 2013 Individual Artist Fellowships

2001–2 2000–2001 1999–2000 1998–99 1997–98 1996–97 INDIVIDUAL ARTIST FELLOWSHIPS INDIVIDUAL ARTIST FELLOWSHIPS INDIVIDUAL ARTIST FELLOWSHIPS INDIVIDUAL ARTIST FELLOWSHIPS INDIVIDUAL ARTIST FELLOWSHIPS INDIVIDUAL ARTIST FELLOWSHIPS

EXHIBITION: EXHIBITION: EXHIBITION: EXHIBITION: EXHIBITION: EXHIBITION: May 3–June 30, 2002 May 25–July 15, 2001 April 25–June 4, 2000 May 5–June 20, 1999 April 22–June 21, 1998 April 20–June 22, 1997 Japanese American National Museum Skirball Cultural Center UCLA Hammer Museum Los Angeles Municipal Art Gallery Los Angeles Municipal Art Gallery Los Angeles Municipal Art Gallery 369 East First Street 2701 N. Sepulveda Boulevard 10899 Wilshire Boulevard Barnsdall Art Park Barnsdall Art Park Barnsdall Art Park Los Angeles, CA 90012 Los Angeles, CA 90049 Los Angeles, CA 90024 4800 Hollywood Boulevard 4800 Hollywood Boulevard 4800 Hollywood Boulevard Los Angeles, CA 90027 Los Angeles, CA 90027 Los Angeles, CA 90027 PERFORMANCES: PERFORMANCES: PERFORMANCES: June 7, 8, 14, and 15, 2002 June 15–23, 2001 June 10–June 30, 2000 Artists Artists Artists Los Angeles Theater Center Los Angeles Theater Center Los Angeles Theater Center Karen Atkinson David Bunn Kim Abeles 514 S. Spring Street 514 S. Spring Street 514 S. Spring Street Miles Coolidge (photo) Eileen Cowin (photo) Michael Brewster Los Angeles, CA 90013 Los Angeles, CA 90013 Los Angeles, CA 90013 Jacci Den Hartog James Doolin Carl Cheng Sam Durant Alice Fellows Victor Estrada Visual Artists Visual Artists Visual Artists Carlos Estrada-Vega Todd Gray (photo) Harry Gamboa Jr. (photo) Jo Ann Callis Laura Aguilar Lynn Aldrich Tim Hawkinson Betty Lee Tony Gleaton (photo) Robbie Conal Sandow Birk Nancy Buchanan Anthony Hernandez Robin Mitchell Joe Edward Grant Meg Cranston Tom Knechtel Ingrid Calame John Humble (photo) Bruce Richards Phyllis Green Margaret Honda Robert Nakamura Carole Caroompas Sharon Lockhart Sue Ann Robinson Martin Kersels Hilja Keading John Outterbridge Barbara Carrasco Alma Lopez Therman Statom Joyce Lightbody Constance Mallinson Sarah Perry John Divola Yunhee Min Erika Suderburg Michael C. McMillen Frank Romero Susan Rankaitis Robbert Flick John O’Brien Patssi Valdez Jorge Pardo Alexis Smith Jennifer Steinkamp Michael Gonzalez Linda Stark Bruce Yonemoto Daniel Joseph Martinez Panelists Panelists Panelists Daniel Wheeler Liz Young Susan Mogul Linda Nishio Visual Arts Visual Arts Visual Arts Design Artists Performing Artists Millie Wilson Susan Sayre Batton Lance Carlson Noriko Fujinami Frederick Fisher Dulce Capadocia Bill Cahalan Chusien Chang M. A. Greenstein Cameron McNall Dan Froot Performing Artists Susan Cahan Noriko Gamblin Beverly Grossman Warren W. Wagner Jacques Heim Amy Knoles Lance Carlson Josine Ianco-Starrels Victoria Martin Michael Worthington Licia Perea Michael Mizerany Francesco Siquieros Rose Portillo Stanley Wilson Oguri Alison Saar Lynn Zelevansky Performing Artists Panelists Melinda Ring Photography Thomas Schirtz Hae Kyung Lee Visual Arts Rachel Rosenthal Lane Barden Photography Victoria Marks Jay Belloli Claudia Bohn-Spector Photography Glenna Avila Tim Miller Tomas Benitez Panelists Elizabeth Cheatham Nancy Barton Todd Gray Sophiline Cheam Shapiro Shari Frilot Lyle Ashton Harris Robert Byer Lorenzo Hernandez Karin Higa Visual Arts Anthony Pardines John Huggins Alma Ruiz Panelists Erika Suderberg Todd Gray Jennifer Watts Pilar Perez Venida Korda Tom Rhoads Howard Fox Carla Williams Visual Arts Susan Kandel Tim B. Wride Julian Cox Performing Arts Carol Ann Klonarides Carole Ann Klonarides Luis Alfaro Michael Zakian Linda Nishio Paul de Castro Carol Wells Leigh Ann Hahn Performing Arts Lynn Zelevansky Donald Hewitt Michael Alexander Elaine Weissman James Forward Design Arts Luis Alfaro Barton Choy Duane Ebata Gloria Gerace Ellen Ketchum Allison Goodman Titus Levy April Greiman Claire Peeps R. Steven Lewis

Performing Arts Lynn Dally Eric Hayashi Laurel Kishi Amy Knoles Lee Sweet 80 81 C.O.L.A. 2013 Individual Artist Fellowships

PAST C.O.L.A. PAST C.O.L.A. contributors C.O.L.A. 2013 CATALOG DESIGNERS CATALOG DESIGN TEAMS Acknowledgments FROM OTIS DESIGN GROUP

2012 2003 Annie Buckley is an interdisciplinary artist and The City of Los Angeles Department of Susan Silton, SOS, Los Angeles Amber Howard writer based in Los Angeles and an assistant Cultural Affairs (DCA) combined the efforts Rajeswaran Shanmugasundaram professor of visual studies at California State 2011 Sharleen Yoshimi of its Grants Administrative Division with University San Bernardino. Jody Zellen its Marketing and Development Division, 2002 the Community Arts Division, and the 2010 Jessie Pete Alvarez Leisei Chen is a multicultured jazz vocalist and Los Angeles Municipal Art Gallery to Jeffery Keedy Hesed Choi qigong/taiji artist. As the wife and music partner produce the 2013 C.O.L.A. Individual Christa DeFilippo of Michael White, she expresses their unique Artist Fellowships catalog, exhibition, and sounds, grooves, and mutual artistic visions 2009 performances. Louise Sandhaus, LSD / Louise Sandhaus Design 2001 for humanity. Bryan Craig We would especially like to thank the 2008 Allison Eubanks Karen Mary Davalos is professor and chair of following DCA employees for their Susan Silton, SOS, Los Angeles Anouk de Jonge the Department of Chicana/o Studies, Loyola dedicated work in making the exhibition and Kevin Yuda Marymount University, Los Angeles. 2007 performances engaging, educational, and Michael Worthington, Counterspace, Los Angeles 2000 Marcelyn Gow is a partner in the architecture entertaining: Joe Smoke and Christopher Jessica Berardi and design collaborative Servo Los Angeles. Riedesel from the Grants Administration 2006 Amanda Cheong She also teaches at SCI-Arc—the Southern Division; Scott Canty, Sara Cannon, Garland Kirkpatrick, helveticajones.com Sayuri Dejima California Institute of Architecture. Michael Lewis Miller, Marta Feinstein, and Tritia Khournso Gabriel Cifarelli from the Los Angeles 2005 Christina Kim Michael Ned Holte is a critic and independent Municipal Art Gallery; and Will Caperton y Michael Worthington, Counterspace, Los Angeles Tatjana Lenders curator who teaches at California Institute of Montoya and Martica Caraballo Stork the Arts. from DCA’s Marketing and Development 2004 1999 Susan Silton, SOS, Los Angeles Heather Caughey Division. Benjamin Lord is a visual artist based in Los Henry Escoto Vaughn Lui Angeles. We also sincerely thank Grand Performances and Michael Alexander 1996–98 Susette Min teaches Asian American studies for hosting the performances, Michael Lau Chi Lam and art history at the University of California, Worthington and Ania Diakoff for designing Sasha Perez Davis, and is also an independent curator. Her the online catalog, and Karen Jacobson for book Unnamable Encounters: The Ends of editing it. Asian American Art is forthcoming from NYU Press.

Sabrina Ovan is an assistant professor of Italian studies at Scripps College. She has published essays on Italian film and contemporary philosophy and is presently completing a book on collectivity in Italian narrative. All her other writing includes way more bibliography and footnotes than the present piece.

Corrina Peipon is assistant curator at the Hammer Museum, Los Angeles.

Alma Ruiz is senior curator at the Museum of Contemporary Art, Los Angeles.

Christopher Taylor draws on his many years as an actor, writer, and producer to integrate themes of storytelling and artistic vision into the concrete realm of performance.

82 83 Visual Artists LISA ANNE AUERBACH KRYSTEN CUNNINGHAM RAMIRO DIAZ-GRANADOS SAMANTHA FIELDS JUDITHE HERNÁNDEZ CAROLE KIM NERY GABRIEL LEMUS REBECA MÉNDEZ REBECCA MORRIS

Performing Artists MALATHI IYENGAR MICHAEL WHITE

Department of Cultural Affairs City of Los Angeles 201 North Figueroa Street, Suite 1400 Los Angeles, CA 90012 Tel 213.202.5500 Fax 213.202.5517 Web culturela.org