UC San Diego Visual Arts @ 50

Title Provoking Change: A Visual Arts Alumni Exhibition

Permalink https://escholarship.org/uc/item/22b020g5

Authors UC San Diego Department of Visual Arts Sizonenko, Tatiana

Publication Date 2017-10-12

License https://creativecommons.org/licenses/by/4.0/ 4.0

eScholarship.org Powered by the California Digital Library University of California Provoking Change Mandeville Art Center Art Mandeville UC San Diego A Visual Arts Alumni Exhibition 12 – December 9, 2017 October Art Gallery University

Provoking Change

VA 50

Provoking Change

David Avalos Doris Bittar Becky Cohen Joyce Cutler-Shaw Brian Dick Kip Fulbeck Heidi Hardin Robert Kushner Hung Liu Fred Lonidier Jean Lowe Kim MacConnel Susan Mogul Allan Sekula Elizabeth Sisco/Louis Hock/David Avalos Deborah Small/David Avalos Introduction

Exploring a segment of the and Robert Kushner challenged the unique early history of the Visual conventional idea of painting as a Arts Department, Provoking Change two-dimensional work on canvas. celebrates an extraordinary roster Executed as a kind of cloth hanging, of artists who came to study in San both MacConnel’s Turkish Delight Diego in the early 1970s through the and Kushner’s Big Blue Chador 1990s. Diverse in their approaches, question the long-standing pejorative these artists shared a desire to foster dismissal of decoration. change by challenging the narrow- Hung Liu’s Five Star Red Flag ly defined avant-garde canon as and German Shepherd, on the other manifested in the formalism of the hand, are a significant contribu- 1960s. In contrast to the influential tion to the revival of traditions of American critic Clement Greenberg, avant-garde painting in China. After who considered political art rene- arriving to UCSD, Liu mastered gade and aesthetically inferior to the layered brushstrokes and drippy avant-garde, UC San Diego artists appearance of paint in her work that made art that introduced multi-cul- serve as a visual metaphor for the tural voices, pointed out women’s loss of historical memory. Alterna- underrepresentation in the arts, tively, Jean Lowe opened the door and revealed the pressing histories to a social critique aesthetic within of immigration, class, and racism. the realm of canvas, thus further By broadening art-making practices transforming the idea of modernist through daring experimentation and painting. Lowe’s Food For a Nation, engagement with the highly-contest- a monumental canvas reminiscent ed political and social subjects of the of a baroque painting, features not day, these artists helped transform a romanticized or heroic scene but and expand contemporary art. rather a grim contemporary land- Works on view in Provoking scape depicting the environmental Change include painting, sculpture, impact of industrial agro-business. photography, photomontage, film and This painting, put side by side with video, and text-and-image installa- other work produced by Visual Arts tions. Standing at the forefront of alumni in the 1990s, invites viewers the Pattern and Decoration Move- to rethink their place in our consum- ment, the work of Kim MacConnel er society. Lastly, Heidi Hardin’s portraits visualize the theme of iden- of immigrant labor, border politics, tity, a subject that runs across many and multiculturalism in California, works of Visual Arts alumni. In Har- while also transgressing estab- din’s paintings, colorfully transcribed lished conventions of public art. Art snapshots from family albums offer Rebate/Arte Reembolso by Sisco, an evocative meditation on the differ- Hock, and Avalos takes the form of ent ethnicities that comprise families a video and text documentation of in America. the project. The work was conceived The exhibition’s impressive array as a series of symbolic social and of paintings is complemented by economic transactions between three groundbreaking works in photogra- artists and hundreds of Mexican phy. Included are photo-text instal- and Central American unautho- lations by Allan Sekula and Fred rized immigrant-laborers here in Lonidier, who not only influenced a San Diego during three months of generation of new documentary pho- the collaborative enterprise. The tographers but also offered a model trio orchestrated an unprecedented for post-documentary, conceptual, media campaign to promote debate and leftist political photography. about the relationship between Sekula’s School Is A Factory serves citizens and undocumented workers as a critical exploration of the limited in San Diego County’s underground career paths opened up by so-called economy. In contrast, mis*ce*ge*NA- “higher education” in the community TION, an installation by Small and colleges of Orange County. In turn, Avalos, combines casta images with Lonidier’s The Wedding of Lin Baron a humorous experimental video-es- and Pauline Oliveros experiments say. The results critically reconsider with serial images and text, a kind of California as a long-time home to “silent film” approach, to document Native Americans, Spaniards, Chi- its socially-critical content, an early nese, African-Americans, and Anglos, gay marriage ceremony. while also challenging conventional Multimedia work by two col- wisdom about the mixing of the lectives - David Avalos, Louis races. Hock, and Elizabeth Sisco, as well The pioneering interdisciplinary as David Avalos with Deborah work of Visual Arts alumni, fre- Small - addresses complex issues quently combining collage, photography, video, writing, installation, The work of many Visual Arts performance, and activism, is repre- alumni aligns well with the spirit of sented by pieces from Susan Mogul Allan Kaprow’s investigation of art and Doris Bittar. An active member disappearing into life. The artworks of the Feminist Studio Workshop, a on display can delight the senses, radical feminist art program led by evoke emotions, arouse curiosity, and Judy Chicago in Los Angeles, Mogul provoke debate about the nature and explores topics of female identity and boundaries of art and art media. For sexuality. Waiting at the Soda Foun- example, Brian Dick’s canvas-cov- tain, combining performance video ered foam tires, from his larger with her photocollages, is a feminist installation No Rules Except...Yard, parody about getting discovered in not only pay homage to the legacy Hollywood and was originally part of of Kaprow but also significantly an installation and performance at contribute to the making of a new the Columbia Coffee Shop in Hol- kind of improvisational sculpture, lywood. Doris Bittar, on the other often presented as a performative hand, uses the media of collage and strategy that activates the work. In mapping to respond to the world’s all, the exhibition spotlights those anxieties and obsession with terror- artists who have succeeded mem- ism since 9-11. Her Secured States orably in giving substance to their maps, created by cutting and pasting creative visions and whose work security envelope patterns collected often transgressed the conventional from paychecks, bills and official doc- media boundaries to connect object uments, humorously reconcile border making with play, performance, discrepancies arising from political and activism. The exhibition will be or geographic issues and apply the accompanied by film screenings and correct security envelope patterns lecture-conversations with visiting to make states and countries “safe” alumni and will highlight the depth once again. Bittar’s work frequent- and breadth of the socially engaged ly examines decorative motifs and and politically conscious art of the how they intersect with historical Visual Arts alumni at UC San Diego. and geopolitical legacies, while also addressing themes of place, identity, and spirituality. —Tatiana Sizonenko, Ph.D., Art History, Theory and Criticism, 2013

David Avalos

David Avalos on the 2015 canoniza- tion of Junípero Serra: In September 2015, Pope Francis made a saint of Franciscan Friar Junípero Serra, who founded Mission San Diego de Alcalá in 1769, thus initiating a brutal Mission system on behalf of the Roman Catholic Church. According to Francis (possibly channeling Mel Brooks), Serra “ushered in a new springtime of evangelization” by his work for the Church. “Such zeal excites us,” the Pope raved. In the late 1980s, when the Church first ‘Beatified’ Serra in preparation for making him a saint, California Indian protests success- fully stopped the effort. In support of their outrage, historian William E. Weeks wrote: To proclaim “St. Serra” is to proclaim forever the “savage” nature of the native peoples of California.… [Only then] will Western civilization confront the reality of genocide.… To candidly confront the reality of European subjugation of Native Americans is a necessary condition for the alleviation of present-day injus- tices and the shared creation of a common future. Hubcap Milagro—Junípero Serra’s Next Mixed Media: chrome hubcap, Thunder- Miracle: Turning Blood into Thunderbird bird wine bottle, sheet lead, escutcheon Wine, 1989 pins, acrylic paint, circular saw blade and fragment, tin funnel, carved wood, wire, hardware 32 x 15 x 6 inches Collection of Doug Simay

The Church often demands a mi- David Avalos’ voice was first raculous intervention from a person heard on September 12, 1947. His being considered for sainthood. This Mexican immigrant parents, Santos might occur, for example, when a and María Avalos, raised him and devout Catholic with an incurable five siblings in the Mexican-American disease prays to the ‘Beatified’ and neighborhood of National City. His makes an otherwise inexplicable parents’ intelligence, discipline, and recovery. In 1989, David Avalos’ wisdom endowed him with the skills Hubcap Milagro proposed that this to succeed as an educator and artist. required miracle would be the tran- First, though, Avalos flunked out of substantiation of blood into wine, college, joined the Army, and lived in referencing the high rates of Ameri- a cave in Matala, Crete. Eventually, can Indian alcoholism, an historical at San Diego’s Centro Cultural de legacy of Christian colonization of la Raza, he worked collaboratively this hemisphere. with a bi-national cohort of Chi- In 2015 Pope Francis declared cana/o artists and other multiracial Serra a Saint without a miracle, hub- allies. He has devoted himself to cap or otherwise. In response to the socially and politically engaged art Pope’s exuberance, Steven Newcomb of the border region, informed by his (Shawnee, Lenape) wrote in Indian involvement with the Committee on Country Today that, “the Roman Chicano Rights. Avalos earned an Catholic Church, during the reign of MFA at UCSD that led to a position Pope Francis, is attempting to create at CSU San Marcos. As a Professor a celebratory atmosphere around in the School of Arts, he continues to its centuries of destructive ‘evange- discover the art-making process with lization,’ which is simply a benign his students and colleagues. sounding word for religious colonial- ism as part of a universal (catholic) empire of domination.”

Figures some saints don’t have to show you any stinking miracles. Doris Bittar

Doris Bittar on The Secured States reconcile border discrepancies due to series: political or geographic issues. To be “My work holds a humorous certain that the patterns chosen are conceit that states and countries the “correct” ones for each country, I become safe when papered with research heritage, history, and geo- security envelope patterns collected political contexts. My process mixes from paychecks, bills, and official sense with nonsense, history with documents. I have been saving such myth, to design puzzle-like templates envelopes for years. I began by draw- for each country. I do not repeat the ing designs and still lifes on them patterns as I handcut them. These in Secured Stills. I made American maps address an international anx- flags out of them inSecured Flags. iety -- and not solely a Western one. I create maps to address the world’s Secured States: Allemagne-Turko obsessions with terrorism and its allows interpretations about the post-9/11 anxieties. The Secured contemporary and historical relation- States maps begin with using Google ships between Germany and Turkey, Earth, where I navigate to find a along with their legacies. Secured perch or point of view of the region States: The Arab World shows that that interests me. It’s a long process Arab nations desire security too. The before something’s glued onto paper. West, ironically, ignores the Arab I look at other maps, too, to further world’s sense of insecurity now that Secured States: Allemangne - Turko, 2011 Secured States: The Arab World, 2010 Security envelope patterns on tar paper Security envelope patterns & printed 40 x 60 inches tracing paper on tar paper Courtesy of the Artist 40 x 60 inches

it is a veritable warzone of size- and poets. Bittar exhibits interna- able magnitude. The Arab World’s tionally, is a recipient of national and landscape is nearly half torn up by international awards, and has over regional factionalism, imperialist 40 publications on art and politics. projects, and proxy wars, yet the She is a core member of Gulf Labor, West, with several hands on the Public Address, and the American Middle East and hardly any wars on Arab Anti-Discrimination Committee its own lands, fears insecurity above for San Diego. Her current endeavors all else. Perhaps these maps could overlap activism with art to explore draw a line that links Western safety the lives of refugees and their migra- to the safety of the peoples of the tions. She created and coordinates Middle East.” Teach and Learn Literacy – TaLL, Doris Bittar is an interdisciplin- an English-as-a-Second-Language ary artist, writer and activist. She re- program for Syrian refugees in San ceived her MFA from UCSD in 1993. Diego. Her parallel project, Migrant Intentionally or not, Bittar’s artistic Mountains, visualizes data on refu- and activist projects negotiate diplo- gees and migration into statistical macy with advocacy. Bittar’s work realms that mirror the landscapes includes painting, collage, installa- migrants traverse. tion, digital photography, and video. She also collaborates with musicians Joyce Cutler-Shaw

People in all cultures under- itself eight to nine feet high. The pa- stand the practice of naming and per tiles were imprinted with 2,000 the need to name. The Namewall repeated first names, equally repre- was conceived and designed in 1974 senting women and men, reflecting to transform the depersonalized popular names, and highlighting the passenger tunnel of the International diverse and international origins of Terminal at the Los Angeles Interna- America’s population. tional Airport into an aesthetic and The artist investigated several dif- personal experience for the hundreds ferent ways to represent the names, and thousands of international trav- which were placed in random arrays, elers—for many, a first entry at the as unpredictable as groups of airline United States. passengers. A first name is a sign The Namewall was composed out imbued with meaning, experienced of approximately 12,500 individual as a person rather than as a word laminated paper tiles (each 8.5 x 4 or set of graphic symbols, so there ¼ inches), affixed directly over the was immediate personal response to existing, vertically-placed white the wall as people looked for their ceramic wall tiles of the 263-foot long own names and also those of lovers, passenger tunnel wall, which was relatives, enemies, and friends. It The Namewall, 1974 Installation for the Los Angeles Internation- al Airport, Terminal 2 Courtesy of the Artist

had taken more than ten months installations, public commissions to achieve the permissions for this and artists books. Drawing is her artist-generated work, which was primary language, from two-dimen- financed in part with individual and sional pen-and-ink works on paper, to corporate contributions of materials their sculptural translations. She has and labor, including Japan Airlines, exhibited internationally since 1972. which underwrote and hosted the Her works are presented in both mu- opening reception in their Sakura seum and library special collections Lounge. including New York’s Museum of This was the first time an in- Modern art, the 42nd Street Library, dividual artist had been granted the Albertina Museum in Austria, the permission to exhibit a site-specific Teylers Museum in the Netherlands, installation for the Los Angeles the Wellcome Institute in London, International Airport, years before the National Museum of Women in public art programs were initiated in the Arts in Washington, D.C., and, American cities. It was extended for in California, at the Getty Museum one month by popular interest and Library, the University of California the request of the Board of Airport San Diego Geisel Library, and the Commissioners. Athenaeum Music and Arts Library Joyce Cutler-Shaw is an artist in La Jolla. of intermedia, including drawings, Brian Dick

No Rules Except…Yard is a “I don’t know what Allan Kaprow reinvention of Allan Kaprow’s, Yard, thought about tires when he first first shown in the courtyard of Mar- made his environment Yard, as part tha Jackson’s New York Gallery in of his ongoing investigation of art 1961, and Allan and Bram Kaprow’s disappearing into life. I tend to think 2000 pillow environment, No Rules he thought of them as repetitive, Except... made for LACMA Lab. No readily available shapes that might, Rules Except… Yard was commis- taken together, make you feel like sioned in 2008 by the New Children’s you were in a three-dimensional Museum, San Diego for the exhibi- Pollack painting, a physical mani- tion, Child’s Play. The room-sized festation of just how dirty, difficult, space consisted of a floor and walls and revelatory it would have been to covered with mattresses, and 165 navigate abstract-expressionism in canvas-covered-foam-tires. Addition- mid-century America. He did tell me ally, the room included punching once that used tires were a lot easier bags, mirrors, a Bram Kaprow de- to get, then get rid of. In any case, a signed sound element, and a Simon tire is, for all its smell, smudginess Forti inspired climbing wall-mat- and grease, a perfect shape. When I tress. The five standard-sized was first approached by the museum “tire-pillows” culled from that 2008 I was given the option to reinvent Child’s Play exhibition, are made of either Yard, or No Rules Except… silk-screened canvas covered batting Before I had decided, during the con- and foam. They can be dumped over, ceptualization process, it occurred to played with, and sat upon. Please me that I might avoid the pit falls of re-stack. reinvention and simply combine both environments. The result was No Brian Dick on No Rules Except… Rules Except…Yard. The tire-pillows Yard: themselves, literally and poetically, collapse the two works together.” No Rules Except…Yard, 2008 Silk-screen, canvas, foam Installation View, The New Children’s Museum San Diego. Courtesy of the Artist

Brian Dick: “In graduate school performance. In 2012, we “mascot-ed” my research focused on the notion of fifteen museums for our first Summer play and empty-headedness as a per- Tour. In 2014 we went on the road formance strategy. I broadly defined again with our LA-LA Tour: Los my work as playful improvisational Angeles to Latin America. In 2013, I sculptures and time-based activities was the Robert Caplan Artist-in-Res- that extend into social space. All idence at the Museum of Contempo- are purposefully temporary and not rary Art, San Diego. meant to last over time. At present I maintain a studio on I received my MFA from U.C. the campus of Penn State and am the San Diego in 1995 and my BA from Penn State Zoller Gallery Exhibitions UCLA. In 2008 I co-founded the Coordinator.” Nationwide Museum Mascot Project, in which artists engage in site-specific improvisational object making and Heidi Hardin

Families in Paradise (subtitled sal. Snapshots from family photo al- The Four Jews) is the second of seven bums are transcribed into paintings installations in Hardin’s project Hu- and mounted on fabric-covered hard- man Family Tree/A Walk Through wood panels that allude to the myth- Paradise... Fifteen years in the mak- ical Tree of Life. In her installations, ing, Hardin’s grand work comprises Hardin invites the viewer to follow a 78 portraits of families of different labyrinth of footpaths and columns, ethnicity, and from differing reli- thus creating a “walk through para- gious traditions, who have traveled dise” among the paintings. Exploring to America to make their home. Each ideas about cultural self-definition, installation of Hardin’s extended the universality and pervasiveness of project focuses on a single religion the American dream, and new direc- and is presented as an evocative tions imagined for the human family multimedia meditation on the expe- and their faiths, her work calls to riences we share, regardless of faith, overcome differences and restore a culture, or ethnicity. Her portraits paradise on earth while also healing have typically been displayed along broken heartstrings. with touching objects, environmental displays, and original soundscapes by Los Angeles composer Jonathan Sacks. The two paintings on display are from Families in Paradise (The Four Jews). Here portraits of Jonathan Sack and his siblings Reva and Lee offer an unexpected window into the shared human experiences that bridge the personal and the univer- Reva in a Rage (1967), 2004 Jonathan and Lee in the Garden on Rosh oil on panel, mounted on fabric-covered Hashanah (1958), 2004 tempered hardwood panel oil on panel, mounted on fabric-covered panel: 20 x 1 in., frame: 48 x 24 inches tempered hardwood panel panel: 20 x 16 in., frame: 48 x 24 inches From Families in Paradise (The Four Jews). Courtesy of the Artist

Originally from Oklahoma City, Heidi Hardin received her MFA in Painting from UCSD in 1979. For thirty years she has exhibited nationally and has taught at all levels. Her artwork was represented by Newspace in Los Angeles from the early 1980s until 2006, when the gallery closed and its archives became a part of the Smithsonian. For decades, Heidi taught children about the Hunters Point Shipyard (HPS) cleanup and reuse, through her innovative art and science curriculum, The Children’s Mural Program (CMP). In 2010, she and CMP students created a HPS public commission, STREAM of CON- SCIOUSNESS, a handmade ceramic-tile mural. Hardin’s artworks are held in trust in the objectives of Think Round, Inc., a 501(c)(3) nonprofit she formed in 2004. Currently, Hardin’s attention is on her “birth vision,” The Human Family Tree/A Walk Through Paradise..., and the creation of the Center for the Human Family. Bob Kushner

Bob Kushner writes: presented these and other Oriental- “In the spring of 1974 I had the ist fantasias as a fashion show, hence amazing opportunity to travel to the title The Persian Line--not a Turkey, Iran and Afghanistan with more modernist Iranian Line, rather my UCSD professor and mentor the antiquated vision of Persia, of Amy Goldin. Our time was spent the East. Consistent with my other looking at historical architectural performances, I presented these cos- monuments as well as contempo- tumes on nude bodies. I did not want rary culture. Amy had been reading to provoke religious conventions; Edward Said’s ground-breaking book rather I was sincerely interested in Orientalism and keenly identified how one could be mostly covered and the many cultural discrepancies, at the same time still be seductive.” assumptions, and misunderstandings Robert Kushner’s performance of the West for the East. It was my Persian Line II took place on March first travel abroad and it opened my 14, 1976, in the Holly Solomon Gal- eyes in many ways. lery, an art space in New York City On returning, I wanted to inte- that was known then for nurturing grate these experiences with my the Pattern and Decoration move- studio and performance practice. ment, whose practitioners, among I undertook a series of variations them Kim MacConnel and Robert (pretty loose ones) on the chador, Kushner, used motifs from exotic cul- the veil worn in public by Iranian tures to produce ornate, wildly pat- women. I was fascinated at how this terned paintings and assemblages, as flat, roughly half-circle shape of thin well as creating performances, as a fabric could gain form and volume way of challenging the austerities of when draped over the body. By Minimalism. For this particular per- allowing the chadors to become much formance, Robert Kushner presented larger than they would have been in as a fashion show his variations of Iran, I could introduce an element of the chador (the veil worn by Irani- aerodynamics, watching the expans- an women in public). In his words, es of fabric fill and balloon with air. “the title The Persian Line suggests Following the various givens of not a more modernist Iranian Line my performance work at that time, I but rather the antiquated vision of Big Blue Chador, 1974 Acrylic, acrylic extrusion, and embroidery on silk crepe de chine with polyester border 7 x 10 feet Bob Kushner (cont.)

Persia.” Consistent with his other expansively and emotionally rich. performances, Kushner presented Decoration has always had its own these costumes over naked bodies, agenda, the sincere and unabashed not to provoke religious sentiments offering of pleasure and solace.” or undermine conventions but to Kushner’s work has been exhibit- explore how one could be covered yet ed extensively in the United States, at the same time seductive. Europe, and Japan, and has been in- Since participating in the early cluded in the Whitney Biennial three years of the Pattern and Decora- times and at the Biennale in Venice tion Movement in the 1970s, Robert twice. Kushner was the subject of solo Kushner has continued to address exhibitions at both the Whitney Muse- controversial issues involving um of American Art and the Brooklyn decoration. Kushner draws from a Museum. A mid-career retrospective unique range of influences, including of his work was organized by the Islamic and European textiles, Henri Philadelphia Institute of Contempo- Matisse, Georgia O’Keeffe, Charles rary Art. Demuth, Pierre Bonnard, Tawaraya Kushner’s works are included in Sotatsu, Ito Jakuchu, Qi Baishi, many prominent public collections and Wu Changshuo. Kushner’s work including the Museum of Modern Art, combines organic representational NY; the Metropolitan Museum of Art, elements with abstracted geometric NY; the Whitney Museum of Amer- forms in a way that is both decorative ican Art, NY; the National Gallery and modernist. He has said, “I never of Art, DC; the Corcoran Gallery of get tired of pursuing new ideas in the Art, DC; Tate Gallery, London; San realm of ornamentation. Decoration, Francisco Museum of Modern Art; an abjectly pejorative dismissal for the Contemporary Museum, Honolu- many, is a very big, somewhat defiant lu; the Denver Art Museum; Galleria declaration for me. … The eye can degli Ufizzi, Florence; J. Paul Getty wander, the mind think unencum- Trust, Los Angeles; Museum Ludwig, bered through visual realms that are Persian Line II Performed at the Holly Solomon Gallery, New York City, on March 14, 1976 Performance video, 51 min Courtesy of Archives of American Art Hung Liu

One of the first Chinese artists gone missing. In the original red flag, to establish a career in the West, the single large star symbolizes the Hung Liu is well-regarded interna- Communist Party’s leadership and tionally for her unique artistic style. the smaller four represent the people Her paintings often feature layered who, under its guidance, surround it. brushstrokes combined with washes In tandem, the painting The Ger- of linseed oil, a process that gave man Shepherd depicts an Alsatian her imagery a drippy, indistinct or German Shepherd dog alongside appearance, a method that has been Japanese soldiers during the 1937 interpreted as challenging the rigid Japanese occupation of China, thus academicism of Chinese Socialist Re- further reflecting on tortured times alism. Much of the meaning of Liu’s in 20th century China. painting emerges from the way her Hung Liu was born in Chang- wash and drip technique dissolves chun, China in 1948, growing up the figurative images, thus sub- under the Maoist regime. Initially jecting them to the more reflective trained in the style of Socialist process of painting. Realism, Liu studied mural painting Five Star Red Flag reflects on the as a graduate student at the Cen- events at Tiananmen Square in June tral Academy of Fine Art in Beijing, 1989, as seen from Liu’s perspective before immigrating to the US in 1984 in the United States. Featuring a to attend the University of California, graphic drawing, based on a tradi- San Diego, where she studied under tional Chinese acupuncture chart in Allan Kaprow, American originator which the body is a map of illness, of Happenings. the painting comments on the Known for paintings based on post-Tiananmen Square condition historical Chinese photographs, of Chinese society, which is alluded Hung Liu’s subjects over the years to by the red X at the throat of the have been prostitutes, refugees, street medicine man. The side panel of the performers, soldiers, laborers, and red flag also points out major dis- prisoners, among others. As a paint- crepancies in party direction. Based er, Liu challenges the documentary on the national flag of the People’s authority of historical Chinese pho- Republic of China (Red China), the tographs by subjecting them to the side painting shows that two stars more reflective process of painting. Five Star Red Flag, 1995 30.25 x 30.125 inches oil on canvas Courtesy of Hung Liu and Jeff Kelly Hung Liu (cont.)

Much of the meaning of Liu’s paint- are American peasants on their way ing comes from the way the washes to the promised land of California. and drips dissolve the documentary These paintings depart from her bet- images, suggesting the passage of ter-known fluid style in which drips memory into history, while working and washes of linseed oil dissolve to uncover the cultural and personal the photo-based images the way time narratives fixed – but often concealed erodes memory. Instead, she devel- – in the photographic instant. Wash- ops a kind of topographic realism ing her subjects in veils of dripping in which the paint congeals around linseed oil, she both “preserves and a webbing of colored lines, together destroys the image.” Liu has invent- enmeshed in a rich surface that belies ed a kind of weeping realism that the poverty of her subjects. Factually surrenders to the erosion of memory woven to Dorothea Lange’s celebrated and the passage of time, while also Depression-era photographs, Liu’s bringing faded photographic images new paintings release the energy of vividly to life through the tactile pro- color like rays of hope from beneath cess of painting. In effect, by turning the grey tones of history. old photographs into new paintings, A two-time recipient of a National Liu summons the ghosts of history to Endowment for the Arts Fellowship the present. in painting, Liu also received a Life- Recently, Liu has shifted her focus time Achievement Award in Print- from Chinese to American subjects. making from the Southern Graphics By training her attention on the Council International in 2011. A displaced individuals and wandering retrospective of Liu’s work, Sum- families of the American Dustbowl, moning Ghosts: The Art and Life of Liu finds a landscape of overarching Hung Liu, was recently organized by struggle and underlying humanity the Oakland Museum of California that is familiar terrain for her, hav- and is scheduled to tour nationally ing been raised in China during an through 2015. In a review of that era (Mao’s) of epic revolution, tumult, show, the Wall Street Journal called and displacement. The Bindlestiffs Liu “the greatest Chinese painter and 1930s Oakies wandering like in the US.” Liu’s works have been ghosts through Liu’s new paintings exhibited extensively and collected German Shepherd, 1998 36 x 24 inches oil on canvas Courtesy of Hung Liu and Jeff Kelly

by the San Francisco Museum of San Francisco; and the Los Angeles Modern Art, the Whitney Museum of County Museum (LACMA), among American Art, New York, the Metro- others. Liu currently lives in Oak- politan Museum of Art, New York; land, California. She is Professor the National Gallery of Art, Washing- Emerita at Mills College, where she ton, D.C.; the Asian Art Museum of has taught since 1990. Fred Lonidier

This series of vintage photographs to photography that introduced lan- by Fred Lonidier captures the spirit guage-based works and undermined of teaching and learning in the mid- the fixation on technique. Through 1970s, when the department har- photomontage, the series investi- bored a singular group of influential gates the operation of the photo- instructors and students including graphic image as a semiotic system Martha Rosler, Phel Steinmetz, while reinventing the medium as a Allan Sekula, and Lonidier himself. form of both art and critical writing. Exploring the twin dialectics of “art” Lonidier’s work was central to the and “life” that were then at the heart formation of a genre of Conceptual of a rigorous cultural critique, his Art that later became known as the series demonstrates a new approach San Diego School. Semiotic Photo-Text Pieces Lemon/Lime Levels, 1975 Real Rum X 3, 1975 Vintage photograph Vintage photograph 8 x 10 inches 16 x 20 inches Martha On Art and Food, 1975 Photo-Correct Order, 1975 Vintage photograph Vintage photograph 16 x 20 inches 8 x 10 inches Courtesy of the Artist and Michael Benevento Gallery, Los Angeles, CA Fred Lonidier (cont.)

Fred Lonidier recollects: But sometime in late June, Lynn let “When my first marriage ended me know that she was planning an in San Francisco, my older sister, all-day “wedding” event for Pauline Lynn Lonidier, and Pauline Oliveros and Lin and I agreed to photograph invited me to move to their house in it. Hanging around the art depart- Leucadia, at least, while I waited out ment, I was beginning to get on my trial for draft refusal. That would board with the Conceptual Art move- have been the winter of 1969. They ment. My own interest in documen- had been a couple for around three tary, with a background in the social years starting when Pauline was at sciences, seemed a good fit with Mills College. By the winter of 1970, its uses of serial images, text, and their relationship had reached a openness to socially critical content. turning point with Pauline becoming It was some time before I printed involved with Lin Baron, a cello MA and mounted the work in this show, student. Meanwhile, I had been ac- I decided to go for a kind of “silent cepted as a MFA student to begin the film” approach, which would allow following fall. Around that time, the me to represent the entire day with a Antin’s had introduced me to Phil lot of small prints mounted in order Steinmetz (later, Phel) and I hung on black board.” out with him most of that summer. The Wedding of Lin Baron and Pauline Oliveros, 1970 Vintage photographs mounted on black boards of various lengths to appear like a film strip Courtesy of the Special Collections and Archives, UC San Diego Libraries

Professor Emeritus Fred Lonidier York City, the Whitney in New York, studied at Yuba College and San and many other venues. Since the Francisco State (graduate work in early 1970s, Lonidier has challenged sociology and photography) before the conventions of the photographic becoming a member of the MFA image, merging conceptual photog- program at UC San Diego, where he raphy and leftist political activism. joined the faculty in 1972. Lonidier’s His choice to show his work in such work deals with the sociological pos- nontraditional venues as union halls sibilities of photography applied to and shopping malls exemplifies his social change and has been exhibited efforts to address an audience beyond at the Houston Center for Photogra- the gallery and museum visitors. San phy, the Oakland Museum, the San Quintin photo-text panels chroni- Francisco Art Institute, the Friends cle the artist’s longstanding project of Photography in Carmel, the Long exploring border issues and labor Beach Museum, the Los Angeles rights in maquiladoras, assembly Institute for Contemporary Art, the plants that operate in the free trade Focus Gallery, the Kitchen, the New zone of Tijuana, Mexico. Museum of Contemporary Art in New Jean Lowe

Food for a Nation is part of Jean conversation about human activity in Lowe’s large installation from 1992 a distinctly human space. The enor- entitled Accomplishments of Man. mous feedlot, stretching as far as the Styled as a sort of baroque salon, eye can see, depicted in Food for a with carpets and furnishings crafted Nation, is part of that social critique, from papier-mâché, its many large- looking at how man changes nature scale paintings featured not roman- to meet human needs and desires. ticized or heroic scenes but rather Jean Lowe received her B.A. from contemporary landscapes depicting UC Berkeley in 1983 and her M.F.A. massive environmental incursion, from UC San Diego in 1988. From such as a clear-cut forest, a dam, 1992 to 2008 she was a lecturer at industrial agriculture and a housing Vis Arts. She has received numerous development. Each painting was awards and grants including two elaborately framed. These frames, WESTAF/NEA Regional Fellow- and more broadly the decorative ships (sculpture), a Pollock-Krasner framework of the original installa- Foundation Grant, a California Art tion itself, were meant to create a Council grant; the Alberta duPont Food for a Nation, 1992 103 x 94 inches Oil on un-stretched canvas Courtesy of the Artist

Bonsal Foundation Purchase Award, nationally in galleries since 1988, CalArts/Alpert Ucross Residency including Quint Gallery, San Diego; Prize, and The SD Art Prize cash McKenzie Fine Art Inc., NY; Gracie grant presented by San Diego Visual Mansion, NY; and Holly Solomon, Arts Network. Her artworks are in NY. Her works have also been seen the collections of the Athenaeum in numerous museums such as the Music & Arts Library, La Jolla, Museum of Contemporary Art, San CA; California Center for the Arts Diego; Madison Center for the Arts Museum, Escondido, CA; Prudential Contemporary Arts Center, Cincin- Corporation; San Diego Children’s nati; Kohler Arts Center, Sheboygan, Museum; San Diego Museum of Art; WI; List Visual Arts Center, MIT, Museum of Contemporary Art, San Cambridge; Whitney Museum, NY; Diego, La Jolla; Harrison Museum Contemporary Arts Museum, Hous- of Art, Utah State University, Logan; ton; and McNay Art Museum, San 21C Museum Hotel, Louisville, KY; Antonio. and University of California, San Francisco. She has been exhibiting Kim MacConnel

Kim MacConnel has been par- of cloth hangings on the walls and ticularly recognized as one of the various kinds of furniture pieces founders of the so-called Pattern throughout the room. and Decoration art movement. In his words: “When I was asked Embracing the language of “dots, to possibly do something in the space dashes, and zigzags,” he has created (then a painting studio classroom works that draw inspiration from that the museum wanted to con- wide-ranging multicultural resources vert for exhibition use), I thought including textiles of numerous world of trying to create a ‘salon’ in which regions, souvenir postcards, and patrons could sit and contemplate found graphic images. The pieces on the paintings while sitting on fur- display, Turkish Delight and Tur- niture that was also painted, thus quoise Settee, represent the kind of making visitors part of the ‘play.’ It work he first showed in the exhibi- worked fine at the opening, with lots tion “Collection Applied Design” at of people sitting around talking and the La Jolla Museum in 1976. The having a good time relaxing with, exhibition consisted of various kinds and on, the art. Some days later one Turkish Delight, 1974 Turquoise Settee, 1979 (but stands in for a Acrylic on found fabric, sewn 1975 version of the same plastic settee) 51 x 73 ½ inches Acrylic on Naugahyde 28 x 72 x 29 inches

of the guards mentioned that he include: Decoc Terrae Africano, at had to break up a heated pushing the Aspen Museum of Art, 1990; Ho- match between two visitors; one who tel Beauregard, at the Holly Solomon was sitting on, perhaps, the settee Gallery, New York,1991; Bull Story that looks very much like this 1979 at the Museum of Contemporary remake of the 1975 turquoise Nau- Art San Diego, 1993; Stairway of gahyde settee. A patron who entered the Ancients, a part of INSITE’94, the room and saw this person sitting in Tijuana, Mexico; Age of Plastic, ‘on the art’ was incensed, and a con- at Thomas Solomon’s Garage, Los frontation began between the two. A Angeles and Holly Solomon Gallery, different reaction from the crowd at New York, 1994; Fifty Views of Fuji, the ‘salon,’ but equally informative, if Holly Solomon Gallery, New York, not more so, of the real social bound- 1997; Zoo Story, University Art Gal- aries around the age-old question, lery, UCSD, 1999; The Millennium ‘What is art?’” Show, Whitney Museum of American Kim MacConnel received his BA Art, New York, 1999; Arabia Felix from UCSD in 1969 and MFA in and New China, Photo Constructions 1972. He has taught in the Visu- from Yemen and China, Rosamund al Arts Department at UCSD in Felsen Gallery, Santa Monica, 2002; various capacities between 1976 and and, most recently, Parrot Talk, A 1980 and permanently since 1987. Retrospective of works by Kim Mac- His work has been exhibited in the Connel, at the Santa Monica Muse- Whitney Museum of American Art um of Art, Santa Monica. MacConnel Biennial Exhibition’s in 1975, 1977, has also been included in Painting 1979, 1981, and 1985; the Museum and Sculpture since 1940, An Amer- of Modern Art’s An Internation- ican Renaissance, Sam Hunter; The al Survey of Recent Painting and History of Modern Art, 3rd edition, Sculpture, 1984; and the Venice Harvard Arnason; The Power of Biennale, 1984; and he is represented Feminist Art, Norma Broude and in the Morton G. Neumann Family Mary Garrard, Harry Abrams, 1995; Collection at the National Gallery of as well as Irving Sandler’s 1996 Art Art. Notable exhibitions of his work of the Postmodern Era. Susan Mogul

Waiting at the Soda Fountain is a In the closing performance, women feminist parody responding to the were given video screen tests at the cliché of the aspiring actress who counter or in a restaurant booth. gets discovered waiting tables in Hollywood Moguls is a series of Hollywood. This installation and per- photo collages (1976-1979) punning formance at Columbia Coffee Shop on the artist’s own last name and in Hollywood was a culmination of about, literally, breaking into and/ the Hollywood Moguls series. Select or breaking open Hollywood: the fa- Hollywood Moguls hung on the walls, mous Hollywood sign, the Capitol Re- while themed placemats were de- cords building, the historic Pantages signed and utilized at the coffee shop Theater, and others. for the duration of the exhibition. Waiting at the Soda Fountain, 1980 Hollywood Moguls series Poster Moses Mogul Parts the Hollywood Hills, 36 x 24 inches 1977 Waiting at the Soda Fountain, 1979 Photomontage Placemat 8 ½ x 7 ½ in., framed 14 x 11 inches 12 x 15 inches Wandering Moguls Invade The Promised Land, 1979 Waiting at Columbia, 1979 Photomontage Poster 10 x 8 in., framed 14 x11 inches 24 x 17 inches Courtesy of the Artist Susan Mogul (cont.)

“Waiting at Columbia for Holly- became the “on-location” set for wood Moguls I drank 929 chocolate the Chocolate Shake Performance. malteds. Still undiscovered, I drank Columbia Coffee Shop, formerly Co- my last chocolate malted the day lumbia Drugs, was located of the old before I turned thirty.” Columbia Studios in the area known Chocolate Shake Performance was as Gower Gulch since 1928. The the closing event of Susan Mogul’s artist, playing a stereotyped Holly- Waiting at Columbia, an installation wood director, gave 13 women screen of photo collages, custom placemats, tests at the soda fountain. Portraying and life-size photo cutouts that women of the past five decades who satirized Hollywood mythologies, had waited to be discovered, the cos- particularly the daydream of being tumed “actresses” were mostly active discovered in a Hollywood drugstore. leaders and artists at the Woman’s The four-week installation at the Building in Los Angeles. Columbia Coffee Shop in Hollywood Waiting at the Soda Fountain, 1980 Video Courtesy of the Artist

The participants in this performance Waitresses: were: Jerri Allyn, Leslie Belt

Women Waiting: Camera Woman: Nancy Angelo Sue Amon Cheri Gaulike Chutney Gunderson Woman in Red Boa: Mary Linn Hughes Wendy Birnbaum Debbie Kaplan Jennifer Kotter Script Girl: Ewa Barbara Margolies Wendy Markowitz Sue Mayberry Sound: Micki McGee Leslie Labowitz Arlene Raven Cheryl Swannack Director: Susan Mogul Susan Mogul (cont.)

Having been involved with video Denmark. Mogul has been a recipient since the early 1970s, Susan Mogul of numerous grants and commissions is a pioneer of the medium. Initially including a Guggenheim Fellowship, producing an important series of a National Endowment for the Arts humorous and staunchly feminist Fellowship, a Getty Trust Fellowship, performance videos, her practice an ITVS commission, a Tree of Life quickly expanded to more complicat- grant, and a Center for Cultural In- ed and experimental forms of narra- novation innovative project grant. tive, including feature-length work. Women of Vision: Histories in Mogul’s video/film retrospective was Feminist Film and Video devotes a presented in 2009 at Visions du Reel chapter to Mogul’s work and career, International Film Festival in Swit- while the UCLA Oral History Pro- zerland. That same year, Jancar Gal- gram printed the volume, “Susan Mo- lery in Los Angeles presented a solo gul: An Oral History.” In her words: show of her photographs and photo “No matter how hard I fight the collages. In 2011 she was the keynote impulse, I am compelled to make art speaker at the National Documentary from my life. In 1973 I moved to Los Film Conference at Zurich University Angeles, 3,000 miles from home, to of the Arts in Switzerland. be part of the feminist art movement. Born in New York City and a Ever since, my work has confronted resident of Los Angeles since 1973, traditional female roles through any Mogul has had her work exhibited at means necessary – video art, perfor- film festivals, museums, and galler- mance, photography, agitprop, mem- ies, nationally and internationally. oir, and personal documentaries. I Museum exhibitions include the Getty mix and blur genres – autobiography, Museum; MOCA, Los Angeles; Centre documentary and ethnography – to Pompidou, Paris; and the Louisiana create dramatic and poetic narratives Museum of Modern Art, Humlebæk, out the everyday.”

Allan Sekula

This photo text panel accompa- Working Conditions (2003), Sekula nied the closing portion of Allan explains: “. . . the joke was that a Sekula’s 1974 photo-graphic and text ‘genuine’ documentary would require installation This Ain’t China. Mate- access to the plenitude of the world rials, including many work prints re- of capitalist property. Without access lating to this Godard-influenced saga to capitalist ‘reality,’ one was just of his work with some close buddies left with ‘poor theater,’ to borrow (including Gregg Arreguin) in a Del Jerzy Grotowski’s term. This is what Mar pizza restaurant that they tried I came to think of as ‘performance unsuccessfully to organize, have been under working conditions.’ In a reprinted in both major catalogs of strange way this is the opposite of Sekula works. the Godard-Gorin position in the In an interview by Benjamin post-1968 Dziga Vertov Group films, Buchloh published in the Generali’s which rejects cinematic fiction as Sekula catalog, Performance under bourgeois.” Beware! 1974 School Is A Factory, 1978-1980 Photo text panel Photo-graphics and text panel

Courtesy of Sally Stein and Allan Sekula Trust

The text panel and photo-graphics urban landscape that developed in from the 1978-1980 work School Is A the 1970s near Irvine and made Factory present Sekula’s critical ex- that same county photographically ploration of the limited career paths famous for its aesthetic of sanitized opened up by so-called “higher edu- vacancy. Sekula later observed that cation” in the community colleges of Baltz created the “neutron bomb Orange County, CA, where he briefly school of photography” in his criti- taught. The work responds to Lewis cal exploration of the relationships Baltz’s The New Industrial Parks, a between architecture, landscape, and powerful and critical photographic photographic technique. approach to industrial zones in the Allan Sekula (cont.)

This printer’s proof containing a for the catalogue of Generali Foun- selection of images from Sekula’s dation (Vienna) retrospective, Allan early 1970s photo pieces, including Sekula, Performance Under Working This Ain’t China (1974) and School Conditions (2003). is a Factory(1978-1980), was made Printer’s Proof, 2003 Courtesy of Sally Stein and Allan Sekula Trust

Housing for People, Not for Profit, 1979 Long Beach housing poster Allan Sekula (cont.) IF THE RICH WIN, 2012 Courtesy of Sally Stein and Allan Sekula Trust

This printer’s proof containing issues of social reality and globaliza- a selection of images from Sekula’s tion. Sekula’s principal medium was early 1970s photo pieces, including photography, which he employed to This Ain’t China (1974) and School create exhibitions, books and films. is a Factory(1978-1980), was made His secondary medium was the writ- for the catalogue of Generali Foun- ten word, Sekula employing essays dation (Vienna) retrospective, Allan and other critical texts in concert Sekula, Performance Under Working with images to create a multi-level Conditions (2003). critique of contemporary late capi- Allan Sekula (1951 –2013) was an talism. He was a film/video-maker, American photographer, writer, film- frequently collaborating with film maker, theorist, and critic. His work theorist Noël Burch on projects such frequently focused on large economic as The Reagan Tapes (1984) and The systems, what he described as “the Forgotten Space (2010). With his imaginary and material geographies work Aereospace Folktales (1973), of the advanced capitalist world.” Sekula began mixing his photograph- Sekula was born in 1951 in Erie, ic series with long texts, a form for Pennsylvania, of Polish and English which he would become particularly descent. His family moved to San well-known. For example, Fish Story Pedro, California in the early 1960s. (1995) explores the maritime world He graduated with his MFA from the and forms the basis for much of The University of California, San Diego Forgotten Space. Sekula received in 1974, having obtained his BA in fellowships and grants from the Gug- biology from the same institution. He genheim Foundation, the National began making art in the early 1970s, Endowment for the Arts, the Getty staging performances, building Research Institute, Deutsche Akade- installations, and producing photo mischer Austauschdienst (DAAD), series. Informed by Marxist thought, and Atelier Calder, and was named a documentary photography, and con- 2007 USA Broad Fellow. From 1985 ceptual art, Sekula practiced what until his death in 2013, he taught at he called “critical realism,” his works California Institute of the Arts. making perceptive contributions to Elizabeth Sisco, Louis Hock, David Avalos

Art Rebate/Arte Reembolso was advocates for immigrant’s rights in conceived as a series of symbolic developing the project, and involved social and economic transactions them in the process of explaining the between three artists and hundreds ‘performance’ to each of the workers of Mexican and Central American who received a ten-dollar bill. Their unauthorized immigrant laborers. goal in the project was, as Sisco has The artists were awarded a $5000 noted, to ‘redefine community to in- public art commission (made possible clude those who have been left out.’” in part by a National Endowment Art Rebate/Arte Reembolso was for the Arts grant, hence federal tax commissioned for the Centro Cul- dollars). After cashing their check, tural de la Raza/MCA San Diego’s they signed hundreds of $10 bills and exhibition La Frontera/The Border, distributed them as rebates/reemb- Art about the Mexico/United States olsos to a segment of the tax-paying Border Experience. It was denounced population subjected to taxation on the floor of Congress and in aNew without representation. Integral to York Times editorial that character- the project was mass media’s wit- ized the artists as “loonies.” Critics nessing tax returns of cash signed by like Michael Brenson instead praised artists swapped for receipts signed the work for seeming “so logical and by undocumented taxpayers. During yet so unexpected that it suggests three months of street performanc- the kind of artistic imagination es, the trio orchestrated a media that can shed light on anything it campaign promoting debate about touches.” Brenson concluded that Art the relationship between citizens and Rebate/Arte Reembolso “creates an undocumented workers in San Diego esthetic space in the mind … where County’s underground economy. artists, politicians, north and south, Grant H. Kester wrote: “[The United States and Mexico, the media artists] collaborated with research- and the art, run together.” ers, social service providers, and Art Rebate/Arte Reembolso Public Art Events and Media Campaign San Diego County July to September 1993/2010 Courtesy of the Artists

Rebate Video: (Ruben Olague of CNN Spanish Language 14 min. DVD video loop with Spanish International interviews Arte-Reembolso subtitles participants on El Camino Real in San Diego in September 1993.) U.S. and Mexican television coverage

$10 rebate bill signed by Elizabeth Sisco, Louis Hock, David Avalos Elizabeth Sisco, Louis Hock, David Avalos (cont.) Arte Reembolso/Art Rebate receipt signed Spanish language flyer included in each by Mariano Rodriguez on July 30, 1993 in Rebate envelope along with the signed Pacific Beach (San Diego), California. $10 bill. David Avalos and Deborah Small

What began with Helen Hunt aristocrat — are doomed by the Jackson’s devastating critique of racial violence of a California giving 19th century U.S. Indian policies birth to itself. has evolved into the Ramona Out- One hundred years after Jackson’s door Pageant, an annual Southern novel, miscegenation is still without California reenactment of Jackson’s a home in a cultural landscape where novel, Ramona. Full of intrigue, racial mixing is all around us. The romance, and a cast of multicultural last anti-miscegenation laws were characters, the Pageant’s melodrama declared unconstitutional by the U.S. reflects on 19th century California’s Supreme Court in 1967. The current mix of Indian, Spanish, Mexican, mis•ce•ge•NATION at UCSD African, and Anglo inhabitants. Both represents a fragment of a 1991 the novel and tourist-pleasing Pag- installation that uses the Ramona eant script the emergence of Califor- Myth as a point of departure to ex- nia as a tragedy of racial mixing. The amine attitudes about ‘race mixing.’ tale’s principal characters — the The artists reinterpret 18th century star-crossed lovers Alessandro, the paintings, 19th century novels, and “full-blooded” son of a Luiseño Indian 20th century films, all object les- “chief,” and Ramona, the “half-breed” sons in the supposed deterioration, foster child of a Spanish landgrant degradation, and ultimate tragedy mis•ce•ge•NATION, 1991-2017 Installation with video,casta images, photographs, and book (dimensions various) Courtesy of the Artists

for the participants and children of nomic system of racial hierarchy and miscegenation. social stigma. Despite a facade of The video, Ramona: Birth of “objective” observation, these Castas a mis•ce•ge•NATION, parodies reflect value judgments as to which films that represent the “tragedy” of racial mixtures “ennoble” and which racial mixing. Elvis Presley, a Kiowa mixtures “degrade” European blood. “half-breed,” has a racial identity Nevertheless, the Castas paintings crisis at the climax of Flaming Star. depict the children of racial mix- Uncas and Cora, race-crossed lovers, ing — a reality more often denied leap to their deaths in The Last of than accepted within the United the Mohicans. Death is the inevitable States. A quarter of a century ago outcome in a world where, in spite of the mes•ti•zo•NATION installa- the harmonizing of Tony and Maria tion also used enlarged photos of the in West Side Story, there is no “place primos/cousins of David Avalos and for us.” Veronica Enrique’s children. The A wall work, mes•ti•zo•NA- images express the reality of this ex- TION, examines 18th century tended family’s mixed ancestry and Spanish Castas paintings, a genre reject the U.S. cultural framework of that represents mixed ancestry racial purity and white supremacy. according to a rigorous, visual taxo- David Avalos and Deborah Small (cont.)

History of mis•ce•ge•NATION Studies Association Annual Meeting, L.A. Freewaves 3rd Celebration of David Avalos and Deborah Independent Video, and Society for Small produced and developed Photographic Education, Western mis•ce•ge•NATION as an installa- Regional Conference. tion, employing sculpture, video, and An edited version of the Avalos photography. mis•ce•ge•NATION and Small video script was presented has been installed in the United as a reading at The 42nd Interna- States from coast to coast, including tional Design Conference in Aspen the 1993 Phoenix Triennial, and (1992), and in publications including across borders into Mexico as part of Art Papers, (16.1, 1992), and Dis- the Centro Cultural de la Raza and course, Theoretical Studies in Media the Museum of Contemporary Art’s and Culture (18.1 & 2 1995-96). traveling exhibition, La Frontera/ Avalos and Small agree that The Border.The installation also has the Provoking Change’s opening, been exhibited overseas at the Third attended by many of the cousins/pri- International Istanbul Biennial and mos whose portraits have graced the in England as part of the traveling installation since 1991, is the most exhibition, Sin Frontera, organized heartwarming and exciting event in by Cornerhouse, Greater Manchester the installation’s life. In their words: Arts Centre Limited. “Our deep thanks to curator Tatiana The 17-minute video, Ramona: Sizonenko, Ph.D. for providing the Birth of a mis•ce•ge•NATION, opportunity.” co-produced by Avalos, Small, Avalos and Small have collaborat- William Franco and Miki Seif- ed with each other exclusively only ert, accompanied the installation. once on mis•ce•ge•NATION. Nu- Between 1991 and 1993 the video merous times the two of them have was screened separately at venues joined with others including James including the Flaherty Conference, Luna, William Weeks, Elizabeth the Institute of Contemporary Art Sisco, Louis Hock, Scott Kessler, and Cinematique, (London), American Carla Kirkwood. David Avalos and Deborah Small Lina Kern, M.S. Ramona: Birth of a mis•ce•ge•NATION Primas/Primos/Cousins Update 1993, A Book in Progress 2017, Polaroids Courtesy of the Artists Courtesy of the Artists

David Avalos and Deborah Small David Avalos, Deborah Small, William Fran- mes•ti•zo•NATION co, and Miki Seifert, Ph.D. 1993, Wall installation ofcasta images Ramona: Birth of a mis•ce•ge•NATION Courtesy of the Artists 1991, 19:40 minute video Courtesy of the Artists Accompanying Lectures and Film Screenings

Friday, October 20, 2017 identity, and contemporary tattooing. Race, Sex, and Tattooing: Navi- Fulbeck has been featured in the gating Identity with Kip Fulbeck New York Times and on CNN, MTV, Performative lecture and film the TODAY Show, Voice of America, screening and National Public Radio. He is the author several books including Part Artist, filmmaker, spoken-word per- Asian, 100% Hapa and Mixed: Por- former, and UC San Diego alumnus traits of Multiracial Kids. His latest Kip Fulbeck traveled the U.S. pho- exhibition, Perseverance: Japanese tographing individuals and asking Tattoo Tradition in a Modern World, them to handwrite their response to recently showed at the Canterbury the question, “What are you?” His Museum in New Zealand. Fulbeck is multimedia performance weaves to- a professor of Art at UCSB, where he gether these collected stories and im- is the recipient of the Distinguished ages to explore sexuality, multiracial Teaching Award. Tuesday, November 7, 2017 San Diego in order to get her Master Pomp and Circumstance, Art and of Fine Arts degree. How did Mogul Life with Susan Mogul negotiate her radical feminist alter- Performative lecture native education, with a university art department comprised almost From 1973 to 1975, Susan Mogul exclusively of male art professors? was an active member of the Femi- Mogul reflected on this question and nist Studio Workshop at the Wom- interjected anecdotes about mentors an’s Building in Los Angeles. Two Judy Chicago and David Antin, all years later, she became a student in the while placing her body of work at the Visual Arts department at UC the intersection of art and life. Accompanying Lectures and Film Screenings (cont.)

Tuesday, November 14, 2017 mal to human, and from human, She Is Fierce: The Art of Joyce perhaps, to humane.” Cutler-Shaw Cutler-Shaw with Becky Cohen uses drawing “as a way of knowing, Film screening as a mode of inquiry, as a visual language.” Her most striking body of She Is Fierce: The Art of Joyce work, The Anatomy Lesson, devoted Cutler-Shaw, written and directed by to the process of dying, has developed Becky Cohen, is a 2016 documentary into The Brain Project, where the on Cutler-Shaw’s intense body of artist marks the progress of her own work, featuring an in-depth inter- physical decline due to corticobasal view with the artist and commentary syndrome. Her works are collected from Erika Torri, Lynda Claassen, in museums and libraries world- Gail Goldman, and UC San Di- wide, and her archive is now at the ego Professor Mark Whitehead. A UC San Diego Special Collections graduate of the UC San Diego Visual Library. Cutler-Shaw was the first Arts Department, Cutler-Shaw’s Artist-in-Residence at the UC San long career has taken many forms: Diego School of Medicine. ice works, artists’ books, reflective light sculpture, drawing, museum Becky Cohen, also a graduate installations, and large public com- of the UC San Diego Visual Arts missions. Her subjects are human Department, introduced She Is Fierce identity and the natural world; her before the screening and answered themes are evolution and survival - questions at the end of the event. “from reptile into bird, from mam- Photo of Joyce Cutler-Shaw, 2017 Courtesy of Becky Cohen Provoking Change October 12 – December 9, 2017 A Visual Arts Alumni Exhibition University Art Gallery Mandeville Center 216 Mandeville Lane/9500 Gilman Dr La Jolla, CA 92093-0327

Provoking Change is curated by the loan of works and coordination Tatiana Sizonenko, Ph.D., 2013 of shipments. We would particularly like to recognize Sally Stein and Catalogue design: the Allan Sekula Trust; Collection Nick Lesley & Gabi Schaffzin of Doug Simay, San Diego; Lynda Claassen and Special Collections and This exhibition and catalogue made Archives, UC San Diego Libraries; D possible with support from the C Moore Gallery, NYC; the Michael Department of Visual Arts at UC Benevento Gallery, Los Angeles; and San Diego. Special thanks to Jack Art Works San Diego. Greenstein and the 50th anniversary committee, including Sheena Ghan- This program is sponsored in part bari, Monique van Genderen, Kim by the Office of the Vice Chancellor MacConnel, Fred Lonidier, Sheldon for Equity, Diversity, and Inclusion. Nodelman, and Susan Smith Any views or opinions expressed in this program are solely those of the Exhibition installation assistance: speaker(s) and/or organizer(s) and Drei Kiel, Lucas Coffin, and Tad do not necessarily represent those of Linfesty the Office. This program is supported Exhibition Signage: through the Department of Visual Lucas Coffin and Drei Kiel Arts and Division of Arts and Hu- Editorial advice: manities at UC San Diego. Dr. Gareth Davies-Morris

Special Acknowledgements: The Department of Visual Arts thanks participating artists and art galleries for their generous support VA and enthusiasm in helping to make this exhibition a reality, including 50

VisArtsFifty art into life