The Agency of Art Mandeville Art Center Art Mandeville UC San Diego April 12 – May 12, 2018 April 12 – May Art Gallery University the Agency of Art

The Agency of Art Mandeville Art Center Art Mandeville UC San Diego April 12 – May 12, 2018 April 12 – May Art Gallery University The Agency of Art

VA 50 The Agency of Art

Professors Emeriti Helen Mayer and Newton Harrison

Visual Arts Alumni: Sadie Barnette Roman de Salvo Rob Duarte Katie Herzog Nina Karavasiles Jean Lowe Virginia Maksymowicz Heather Gwen Martin Roy McMakin Jessie Mockrin Owen Mundy Tim Nohe Sheryl Oring Tim Schwartz Igor Vamos Nina Waisman Ruth Wallen Allison Wiese Introduction

In Spring 2018, Visual Arts @ 50, (b. 1932). Their award-winning Jean Lowe, Heather Gwen Martin, the two-year series of exhibitions collaboration began at UC San Diego San Diego. Peninsula Europe is an - in 1969-70, when Newton Harri- in-depthnot previously analysis been of theexhibited fresh water in lenged the expectations of painting of the founding of the Visual Arts son was an assistant professor and system of Europe, which proposes inand numerous Jessie Mockrin ways. Theirhave all work chal Department,marking the fiftiethturns its anniversary focus from founding member of the Visual transforming the highlands stretch- the past to the future. The Agency Arts Department and Helen Mayer of Art highlights the role of Visual Harrison was the Director of Educa- the Pyrenees, across the Central onemploys the politics the traditions of identity, of figurativepower tional Programs at UC Extension. It Massíf,ing from to Portugal the Carpathians and Spain, and over be- structures,and abstract and painting knowledge to reflect econo - decades who are shaping the way was then, and here, that they made artArts engages alumni withfrom social the past practice, several the the historic decision to form an - artistic partnership, which included yond into a vast forest which would andmies a through unique synthesisclever appropriation, of fashion ogy. British social anthropologist sharing a professorial appoint- serve as a buffer against drought pasthumor, and subversion present. of historic styles, environment, science, and technol ment and adopting the principle asand an global introduction warming. to Thisthe work visionary of the In a series of what she calls objects are not a part of language ... that they would do no work that youngerproject from artists the who 2000-17 graduated will serve from “one-hour computers,” Herzog Alfred Gell held that “visual art examines relations between the language” and thus should not be end, they began to collaborate not years or so, whose work in painting, understanding of self, information treatednor do they simply constitute as illustrations an alternative or justdid notwith benefit each other ecosystems. but also To with this sculpture,our program architecture, in the last twentyphotogra five- authority, and hierarchies in which UC faculty experts in a wide range information is accessed and dissem- they are tangible indices of social of disciplines: biology, ecology, inated. Mockrin in turn explores interactionsvisual texts. Insteadthat act heas arguedsocial agents. that engineering, history, architecture, reframephy, performance, and re-imagine video, the and critical new - media proposes inventive ways to of exhibitions, The Agency of the Art art. The Harrisons’ commitment the fluidity of gender and identi spotlightsTo conclude how the the anniversary Visual Arts series De- tourban collaboration, planning, socialto bettering activism, the and worldproblems and of our the interactions environment with and it anty throughunsettling clever synthesis appropriation, of past and partment has always been commit- world through art, and to engaging andsociety one today another. and so to improve the presentsubversion fashion. of historic Lowe styles,is known and for ted to using art as a social agent to with science, social policy, and the Taking the Harrisons’ work as paintings and installations repre- a point of departure, The Agency senting what she calls the “Con- The idea that art can change the much art today, and it might also of Art explores how recent leading worldreshape for the the world better in – which and not we just live. beenvironment considered is a foundational precursor to forthe work showcasing commentary on by enriching the life and spirit of contemporaryceptual-Decorative society tradition,” in an expres her - alumni variously contributed to the - emerging artistic fields of socially artgrowing as complex field of objects, Conceptual UC San Art Diego and paintings on display deal obliquely eredthose by for science, love it butengineering, by proposing and engagedThe Agency practice, of Art Environmental places repre- Speculative Design. Defining visual - withsive yet our cerebral current way.social The and colorful political socialnew solutions critique for– was/is problems a major uncov Art, and Speculative Design. ly our understanding of traditional theme of the work of Visual Arts artartists practices have broadened while insisting tremendous that faculty Helen Mayer Harrison (b. fromsentative a major works work by byeighteen the Harri alumni- moment, using a visual language of 1927-2018) and Newton Harrison sons,in juxtaposition Peninsula Europe with five, which panels has entrap the spectator. Katie Herzog, advertising and promotion that is visual art can fascinate, compel, and both provoking and entertaining. Martin, on the other hand, defies traditional rules of composition by pretation that aim to raise aware- - - ese reminds us that language can details, his furniture bridges the gap ernmental organizations often act of honey-bees preservation. Wi betweenand surprising art and and design. subversive shifts,experimenting and delicate with geometric the vast swells lines inness dehumanizing how corporations ways towardand gov the scale signs and billboards skillfully Others like Owen Mundy, Tim of flowing space, dramatic scale public. On the other hand, Wallen both unite and divide; her large- Nohe, Tim Schwartz, and Nina Wa- employs photographic imagery, text, mundane wisdom. In their own that dissolve into a biomorphic and web-based projects to address ways,challenge Maksymowicz, conventional McMakin, norms and and of art made with technical expertise asworld her ofstylistic curves. precursor, Drawing Martinon Pattern complex issues of climate change - andisman imagination have furthered of a high the conceptorder, art and Decoration for a visual style and- by appealing to the heart and the nary and the familiar in their works, that explores the intrinsic mecha- es into changeable spaces through mind through potent metaphors and withDe Salvo the anatomicalwittingly combine and the the archi ordi- chromaticstrategically choreography transforms flat that surfac affects tectural merging in an infusion of focusnisms of of both visual designer cognition and with program subtle- color, and space. compelling narratives. Supported by poetry. Maksymowicz’s work often merpsychological Mundy and insight. of the The technologist collective theExploiting way the viewer the paradigm perceives that form, extensive research, carefulListen listening, to the humor, surprise, intrigue, and visual Schwartz is on public space, infor- Treesand close installation observation celebrates of the thelocal burning social issues though narra- beautyenvironment, of California’s Wallen’s forest land- utilizes the female figureHistory to reveal of Art ofposits Sadie art Barnette, objects asIgor effective Vamos, (and and series, a feminine torso in multiple internetmation privacy, art, interface and big design, data, asgame Ruthaffective) Wallen social address agents, root the causes works that inform community planning papertive or casts metaphor. with icons Her of art history design,explored and through physical data computing. visualization, - scapes and helps shape the values While Mundy mines internet data opportunities for dialogue. is a humorous attempt at feminist to create web-based art proj- urgesof epic-in-scale younger generations social and environ to work andArtists development, such as Rob while Duarte, providing Nina appropriationpainted on each of individual male-attributed surface, mental issues. Their art collectively- Schwartz often uses retired gadgets gent problems related to the issues further exploit fundamental archi- toects, turn custom playful software, data mashups and video, into ofproactively human rights, towards social solving justice, emer and Karavasiles, Virginia Maksymowicz, tecturalimages. McMakinand sculptural and De concepts Salvo each sculptures. Engaging wide-ranging design,Roy McMakin, installation, Roman sculpture, de Salvo, and and (and conceits) to welcome tectonic electronic media, Nohe, by contrast, Anthropocene Age. Sadie Barnette’s Allison Wiese have also employed interpretations and raise construc- examines sustainability and place workthe environmental engages painting impact and of specu the - social hierarchies, hidden politi- tion to an art form by melding the through intermedia works and callanguage ideologies, to reveal and andtechnological challenge physical and the conceptual. Casting history as political by presenting determinism. While Duarte remains dining modules that mimic both productions. Nohe’s work with lative fiction to assert her personal a skeptic, pointing out that technol- laptop computers and TV dinners, musicsound scores isfor echoed dance inand Waisman’s video ogy creates more problems than it interest in sound and performance, arepressive member ofdocuments the Black fromPanther the - Partyactual in FBI 1968, surveillance in a hybrid of heraesthet father,- gardens and smart architectural De Salvo humorously explores the - designsolves, humorouslyNina Karavasiles’ prompt sculpture the ior.tensions McMakin, that technologicalon the other hand, devices throughwhich involves the use research of physical and comput con - educator, and communicator Igor introduce in everyday social behav ingstruction and installation of interactive art. sculpturesIn a series of ics of visual minimalism. Activist, ranging from Southern California’s sculptural meaning in American - The Yes Men Fix The World and for rapidlyviewer toproliferating consider current condominium issues engages the viewer by finding a new ments, human sensory perception, Vamos is well-known for video work performances that involve instru with the Center for Land Use Inter- solar energy and the importance oldvernacular and new furniture. forms, quirky By employing humor, his collaborative public art projects developments to the potential of fine craftmanship, lustrous finishes, and physical movement, Waisman engaged the viewer through sound to sample public opinion about the state of affairs in this country, direct Fascinatedinstallations, by sculptures, the critical videos, roles that and collaborative performances. interests of the artist lie in estab- forming thought, she founded the lishingto the President’s deep relationships office. The between main Laboratorymovement and for Embodiedsensation playIntelli in- expression guaranteed under our research on non-human intelligenc- Constitution,people and ideas, and in proposition,the value of freenot esgences in order (LEI), to aproduce collective experiences that mines in protest. allowing humans to “try on” non-hu- mid-career grads alongside es- these artists dramatically expands tablishedFeaturing peers, several The Agencyemerging of Artand theman arsenal perspectives. of tools In that all, haswork helped of showcases the unique history of UC San Diego as a destination for artists working with expanded media art Helenenlarge Mayer and reinvent Harrison the and field Newton of Speculative Design, initiated by eco-art. practices, innovative new media, HarrisonThe Agency principally of Art alsoin the refers field of thespeculative Visual Arts design @ 50 practices, and to art’s ability to act in particular exploredpublic policy. in-depth Previous the theme exhibitions of New in ways when more than one course of series have not action is possible. One ceases to be show underscores the important an agent when only a single path is roleTechnologies of the department and Design; in openingthis latest up such artistic strands regionally no longer make a difference, in other and nationally. The exhibition is words.practically Acknowledging available – when that artone ob can- the contributions of art to interdisci- but act merely as extensions of their accompanied by events highlighting- maker’sjects cannot or their be agents user’s in agency, themselves this sity and inclusion, as well as the exhibition further highlights the plinary research on equity, diver challenges of new technology. Diego artists. Continuing the Harri- environment and the promises and sons’public pioneering aspect and public activism art ofprojects, UC San —Tatiana Sizonenko, Ph.D., Art Sheryl Oring has been recognized History, Theory and Criticism, 2013 -

Oringfor creating employs valuable the medium arts-interven of a type-writtention initiatives postcard with social in her impact. staged performance I Wish to Say in order Sadie Barnette Observation, 2017 Archival pigment print 24 x 18 inches Courtesy of the Artist and Charlie James Gallery, Los Angeles

Sadie Barnette’s work relishes in Sadie Barnette is from Oakland, the abstraction of city space and the California. She earned a BFA from transcendence of the mundane to CalArts and an MFA from the Uni- versity of California, San Diego. Her compositions that engage a hybrid work has been exhibited throughout aestheticthe imaginative. of minimalism She creates and visualdensity, the United States and internation- using text, glitter, family Polaroids, ally at venues including The Studio subculture codes and found objects. Museum in Harlem (where she was Recent works engage as primary Artist in Residence), the Oakland source material the 500-page FBI Museum of California, The Mistake Room and Charlie James Gallery in Rodney Barnette, who founded the Los Angeles, and Goodman Gallery in Compton,surveillance California, file kept chapteron her father, of the Johannesburg, South Africa. She is the Black Panther Party in 1968. In the recipient of Art Matters and Arta- - dia awards, was named one of the uments are reclaimed — splashed “Black Artists: 30 Contemporary Art withartist’s pink hands spray these paint repressive and adorned doc Makers Under 40 You Should Know” with crystals — in an intergener- by the Huffington Post, and has been ational assertion of the power of featured in The New York Times, The the personal as political. Barnette’s Los Angeles Times, The Guardian UK, work deals in the currency of the Artforum, Vogue, and Forbes, among real, in earthly acts of celebration other publications. Her work is in the and resistance, but is also tethered permanent collections of museums such as The Pérez Art Museum in Mi- ami, the California African American artistto the says,other-worldly, “This is abstraction a speculative in Museum, and The Studio Museum in fiction, a galactic escape. As the - Harlem. She is represented by Charlie James Gallery in Los Angeles and service of everyday magic and sur lives and works in Oakland, CA and vival in America.” Compton, CA. Roman de Salvo Face Time, 2000 Duratrans photograph, light box, polye- thelene, mirror 8.5 x 11.5 x 13 inches Photo credit: Roy Porello Courtesy of the Artist

Before FaceTime was an Apple Roman de Salvo is a sculptor and product, “face time” was a some- public artist whose work infuses the what ironic term used for actual everyday with intrigue and surface-to-face interactions in a world prise. His art is characterized by an in which technologically mediated inventive use of ordinary materials communications were increasingly and objects, often involving energetic the norm. Face Time, the art work, phenomena such as wind, water, fire, was an exploration of the tensions electricity, and audience participa- tion. Since 2005, de Salvo has been Facethat technologicalTime dining modules devices introducethat mim- making large-scale public sculptures icin botheveryday laptop social computers behavior. and The TV that utilize the organic forms of trees. dinners were produced for the 2000 These projects include - Whitney Biennial and put to use in en Trees, a public playground in San the Whitney Museum’s restaurant. Jose, and The RipariumSeven, an expansive for Sev Diners could order the Face Time gateway structure for Ruocco Park in downtown San Diego. eating from these plates that insert a Born in San Francisco in 1965 and solipsisticspecial to have ingredient the experience into the socia of - raised in Reno, Nevada, de Salvo re- bility of a meal with friends. ceived the B.F.A. in Sculpture in 1990 from the California College of Arts & Crafts in Oakland and the M.F.A. in Visual Arts in 1995 from the Universi- ty of California, San Diego. He resides in San Diego.

Rob Duarte A Thunder Cloud Came Over (Drawing), 2018 Laser engraved drawing on clear acrylic, w/light and fabricated metal shelf 35 x 23.5 x 5 inches Courtesy of the Artist Rob Duarte’s work brings to - the surface the political embedded in all technology by exploiting Southernpursuit for Pine survivors woods. in The the drawing wreck the medium of electromechanical exhibitedage; or for here an escaped is of that convict sculptural in the sculptures that respond to the installation, with the spotlight and - logue to the light and shadows in the coursedark history of the of past convict six years, leasing he inhas iterationshadows currentlyserving as being a kind shown of ana in beenthe turpentine immersed industry. in research Over into the the South Florida. history of turpentine production in Rob Duarte earned an MFA in that this seemingly innocuous and Visual Arts from the University of apoliticalNorth Florida. material Duarte’s is, in workfact, bound reveals California San Diego, a BFA in Sculp- up with the history of debt peonage ture from the Massachusetts College of Art & Design, and BS in Business Information Systems with a minor and convict leasing – essentially in Computer & Information Science slavery, by another name. By poring from the University of Massachusetts. andover state convict physicians punishment reports records, on the Rob currently works as an Assistant conditionbids for the of leasing workers of at convicts, the turpen - Professor in the Department of Art at tine camps during the early 1900’s, The Florida State University. In 2015, he has focused on translating this Rob was selected to participate in the intense, dark, and little-known Florida Art Prize in Contemporary Art, an annual invitational exhibition installation at the Orlando Museum in which ten artists are chosen to ofhistory Art that into comprised visual art. a A series large-scale of represent the state of contemporary wooden structures were inspired by art in Florida. In 2012, he was nomi- the shacks inhabited by turpentine nated for the San Diego Art Prize and participated in the corresponding and reassembled those objects at a New Contemporaries V exhibition. His triennialcamp workers. exhibition He also currently reconfigured being work has also been exhibited in venues as diverse as the Prospectives.09 In that installation, the structures International Digital Art Festival at appearshown atwindswept Florida Atlantic and piled University. up, the University of Nevada Reno, the New Children’s Museum in San Diego, scanning through the pile, as if in and EFA Project Space in New York. with a moving search light slowly Helen Mayer and Newton Harrison Peninsula Europe IV, from the Force Majeure Works, 2002-2017 Canvas printing and handwriting 7 feet x 7 feet Courtesy of Helen and Newton Harrison

- mediating this crisis will require Europe IV was initially supported by rative dialogues to uncover ideas and mation suggests that about 25–30 re-terraforming one million square the EU Cultural Fund and the Ger- solutions which support biodiversity The best current scientific infor kilometers to create water-holding and community development. the Peninsula of Europe will suffer landscapes that will turn into a as four museums in three countries. The Harrison’s concept of art em- percent of the productive lands in series of oasis-like food production man Environmental Ministry as well braces a breathtaking range of disci- a consequence of climate–associ- Among the leading pioneers of the plines. They are historians, diplomats, ateddrastically drought. reduced With anproductivity increase in as wetlands. Around each oasis a new eco-art movement, the collaborative ecologists, investigators, emissaries population and a drastic decrease in formsites centeredof circular around farming biodiverse will need team of Newton and Helen Mayer and art activists. Their work involves Harrison (often referred to simply proposing solutions and involves not - as “the Harrisons”) have worked for only public discussion, but extensive productive lands we are looking at theto be center invented, and farthat less accounts at the perimfor - almost forty years with biologists, mapping and documentation of these years,the potential farming for practice major civilon the break eter.greater Peninsula availability Europe of water IV addresses towards ecologists, architects, urban planners proposals in an art context. Peninsuladown. Over has more basically than a terraformed thousand the question of how to confront and and other artists to initiate collabo- mediate this one million square

Peninsulathis land – Europe flattening IV suggests it, tipping that it for Portugal to Mid-Europe. Peninsula drainage and removing wetlands. kilometer drought, moving from KatieHerzog One Hour Computers, 2018 Oil on linen 16 x 20 inches Courtesy of the Artist and Klowden Mann Gallery

artist in residence at the Los Angeles at the Cypress Park Branch Library Public Library’s Cypress Park Branch in 2017/2018,“As the official I am artist making in residence a series through a Fellowship from Projec- of timed oil paintings depicting tArt. Her work is in the collections of numerous public institutions computers. I sit down at a computer, including The Los Angeles County the library’s one-hour-reservation Museum of Art, The Thomas J. Dodd hardware, and when the hour is up Research Center at the University of thereserve painting it for is one done.” hour, paint the Connecticut, and the Tom of Finland Foundation. She has participated in a Katie Herzog studied Library and variety of artist residencies including Information Science after receiving Program Initiative for Art and Archi- her MFA at UC San Diego and went tecture Collaboration in Germany, on to work at a range of rural and Bblackboxx in Switzerland, The Banff urban public and academic librar- Centre in Canada, and Skowhegan ies, while simultaneously making and Ox-Bow in the U.S. Her work has paintings about libraries, archives, been written about in Artforum, The and economies of knowledge. In 2017 New York Times, The Los Angeles she made a 90ft long, 10ft tall wax Times, Wall Street International, Art rubbing of the building facade of and Cake, The Huffington Post, The The Internet Archive (archive.org) Advocate, and Transgender Studies in San Francisco for a solo exhibition Quarterly, among others. She is rep- titled “Rubbing the Internet Archive” resented by Klowden Mann in Culver at Klowden Mann in Culver City, CA. City, California. She currently serves as a teaching Heather Gwen Martin Cue, 2017 oil on linen 77 x 82 1/2 in. Courtesy of the L.A. Louver Gallery

Heather Gwen Martin employs form one another. Prominent colors bring to focus subtle undertones allowing compositional elements that are almost imperceptible upon an intuitive approach to painting, transference of energy directly onto to develop and evolve from the - suspendedfirst glance, shapes. while supple traversing ploration, the artist creates a sense linesWhen move approaching the eye in and her around work, ofthe dimensionality, canvas. Through where this visceralbiomor- ex Martin begins with an initial intent phic forms and sinuous lines appear - suspended in time and space. Loose parture, rather than a destination. yet highly controlled, her paintings that serves more as a point of de the artist releases preconceptions to allowDissolving the compositions any sense of objectivity,to material - convey a sense of movement that ize with immediacy, experimenta- bold,reverberates undulating from colors. varied The shapes, inter - and is intensified by a refined use of of mindfulness, with an awareness - oftion, both and interior improvisation. and exterior In this mo state- trastingplay between tones shapeand resolute and color forms) veers andbetween the attenuated the obvious (subtle (brilliant shifts con consciousness to bring the imag- in hues and ephemeral calligraphic tives, Martin connects currents of

- ery forth, their impulsivities made lines). However disparate, these visible through her actions made on contrasting approaches serve to in canvas. Heather Gwen Martin Breather, 2017 (cont.) oil on linen 20 x 21 1/2 in. Courtesy of the L.A. Louver Gallery

Born in 1977 in Saskatchewan, Pizzuti Collection, Columbus, OH; and Canada, Heather Gwen Martin stud- The Frist Center for the Visual Arts, ied at the University of California, Nashville, TN. In 2016, commissioned San Diego and The School of the Art by Murals of La Jolla, Martin com- Institute of Chicago. Her work has pleted her largest artwork to date: a been seen in exhibitions as far afield 48 ft. high painting on a three-story as Italy, New York, Detroit and Hous- building at 7724 Girard Avenue in ton, and museum exhibitions include downtown La Jolla, CA. Martin lives the Museum of Contemporary Art and works in Los Angeles and is rep- San Diego, CA; Torrance Art Museum, resented by L.A. Louver. CA; El Segundo Museum of Art, CA; Nina Karavasiles The Device for Sound Making, 2018 Drawing Courtesy of the Artist

“This is the documentation of er. A subtle sound, but one we are Nina Karavasiles has had many of Public Address, wrote the book: a collaboration of two past stu- building projects dealing with “Alzheimer’s: Embracing the Humor,” dents working symbiotically within environmental issues ranging from developed meditation devices as well Itsfamiliar these with. kind Oneof connections that exemplifies with affordable housing complexes, to as facilitates an art retreat that helps naturemovement, that bothI am after.human For and me, natural. it’s her own home surroundings. With a artists get unstuck, all while encour- ifdifferent not for thestructures. particular I believe style of these ed- 26-year career as a public artist, Kar- aging support for animals and the ucationworlds wouldn’t at UCSD. haveLisa simplymet so wouldeasily to-one approach. Plaques are great avasiles also cultivates other things planet called “Just Shift.” educators,about the visceral; I use them. the Ione-to-one- also want in life. She was a founding member not have understood the concept interacting with my pieces. seniorand Nina housing would complex have to redesignfor Oceans - my“There viewers is toanother become sculpture performers com - ide.something lesser for Mission Cove, a missioned for the garden, which is a “The Device for Sound Making is six-foot-tall metal form with a place included in this exhibit because I got for encouraged growth (I’m thinking excited about the connection, but beans) and a top fringe inspiration also because the sound produced taken from the dance costumes for the local San Luis Rey tribe. The the handle. I can’t help but think of tribe would prefer we not acknowl- grindingis of the earth. grains, The but viewer the physicality cranks edge that some open parts of the of the action is a strong connector land in this project were once important to them. All the colors used with the viewer, now participant. may or may not know it. Hopefully isThey my havehope chosen that residents to give theirwill go body to theyare from will plantbe drawn blossoms. to it like A viewer a bee. theto this garden, perhaps not unknownonly for the activity. organic It garden gifts but also to do yoga, tai This is not my first environmentally can act as the start of a session. motivated art: 70th Street Trolley in Replacingchi or meditate a traditional as well. gongThis devicewith La Mesa, The Colfax Avenue Bridge the sound of rocks striking togeth- in Studio City are two large, very diverse works.” Jean Lowe Girl Power, 2018 60 x 48 inches Casein on wood panel Courtesy of the Artist

“I went up to a monster truck and The SD Art Prize cash grant - presented by San Diego Visual Arts ert. I’d been working on a series of Network. Her artworks are in the paintingsshow in Victorville, that dealt inobliquely the high with des collections of the Athenaeum Music & this current cultural and political Arts Library, La Jolla, CA; California Center for the Arts Museum, Escon- dido, CA; Prudential Corporation; thoughtmoment, monster using the trucks visual might language be San Diego Children’s Museum; San aof salient advertising way of and describing promotion. the I Diego Museum of Art; Museum of - Contemporary Art, San Diego, La tally, Girl Power was competing that Jolla; Harrison Museum of Art, Utah behavior in Washington. Coinciden State University, Logan; 21C Museum Hotel, Louisville, KY; and University evening and I flipped my thinking of California, San Francisco. She has re-energizedabout the metaphor to resist from and negativechallenge been exhibiting nationally in galleries sexistto positive, norms.” to describe a population since 1988, including Quint Gallery, San Diego; McKenzie Fine Art Inc., Jean Lowe received her B.A. from NY; Gracie Mansion, NY; and Holly UC Berkeley in 1983 and her M.F.A. Solomon, NY. Her works have also from UC San Diego in 1988. From been seen in numerous museums 1992 to 2008 she was a lecturer at such as the Museum of Contemporary Vis Arts. She has received numerous Art, San Diego; Madison Center for awards and grants including two the Arts Contemporary Arts Center, WESTAF/NEA Regional Fellowships Cincinnati; Kohler Arts Center, She- (sculpture), a Pollock-Krasner Foun- boygan, WI; List Visual Arts Center, dation Grant, a California Art Council MIT, Cambridge; Whitney Museum, grant; the Alberta duPont Bonsal NY; Contemporary Arts Museum, Foundation Purchase Award, Ca- Houston; and McNay Art Museum, lArts/Alpert Ucross Residency Prize, San Antonio. Virginia Maksymowicz History of Art, ongoing series begun 1983 Handmade paper, acrylic paint Courtesy of the Artist

The History of Art is a series Visibility: Contemporary Women of paper casts of a female torso Artists’ Representations of Female with icons of art history painted Bodies,” the piece frames “a history onto their surfaces in a humorous attempt at feminist appropriation of male-attributed images. The work paintingof pictorial of Euphroniosimages from to the the caves paint - splattersof Lascaux of to Jackson the classical Pollock vase to the ing photographic grids. History of Artexists has in been a variety reproduced of forms, on includ the The Female Body: Figures, ofgraffiti ‘her story,’art of Keithas in Judy Haring. Chicago’s Rather Styles, Speculations published by the Dinnerthan an Party imaginative,” Grigsby reconstruction goes on to cover of say, these paper casts—made from Heresies magazine (1989) and Open- my own body—are “inscribed by the ings:University A Memoir of Michigan from the Press Women’s (1991), Art Movement, New York City 1970-1992 art painted on a woman’s torso be- comeshand of fashion, the male the artist. stuff Moreover,in museum in Heresies was included in the gift shops as well as department exhibition,(2016). The “Documenting version that appeared a Femi- stores, the Op look and Mondrian nist Past: Art World Critique,” at the T-shirt. Continually deferred, the Museum of Modern Art (2007). female body cannot be seen except As Darcy Grimaldo Grigsby as it is inscribed by the history of art wrote in her article, “Dilemmas of and style.” Virginia Maksymowicz History of Art, ongoing series begun 1983 (cont.) Handmade paper, acrylic paint Courtesy of the Artist

Virginia Maksymowicz (born and abroad. Among her many grants 1952, Brooklyn, NY) lives in Phila- and awards Maksymowicz received delphia, Pennsylvania. She received an NEA fellowship in sculpture in a B.A. in Fine Arts from Brooklyn 1984. Her work has been reviewed in College (CUNY) (1973) and an M.F.A. Sculpture Magazine, The New York in Visual Arts from UC San Diego Times, New York Newsday, The New (1977). She has exhibited her work Art Examiner and The Philadelphia at the Franklin Furnace, Alternative Inquirer. She has been a visiting art- Museum, the Elizabeth Foundation ist at the American Academy in Rome and Grey Gallery (NYC); the Mitchell (2006, 2012, 2014) and a fellow at Museum (Illinois); the Michener and the Vermont Studio Center (2007). Woodmere museums (Pennsylvania); Maksymowicz is currently Professor and in various college, university and of Art at Franklin & Marshall College nonprofit galleries throughout the US in Lancaster, Pennsylvania. Roy McMakin A New Table with a Small Carved Table, 2008 Maple with oil enamel paint, found table 21.5 x 15.75 x 20 inches Courtesy of the Artist and Quint Gallery

Roy McMakin is both an artist and “Poetic interconnections with accomplished designer. He runs his the words ‘adore,’ ‘adornment,’ design company Domestic Furniture ‘ornament,’ and ‘store’ make them /Domestic Architecture out of Seattle. ripe for McMakin’s gamesmanship McMakin’s furniture is often incorpo- and allow him to conflate disparate rated into his artwork. He combines concepts and uncover surprising form and function, furniture and connections. For McMakin, furniture visual art, to produce hybrid ob- and domestic architecture have long jects of clean, sensuous surface with offered a framework within which to humorous underpinnings. His work enact these contextual corruptions, often plays with scale and language, bringing poetic play home to where inviting both visceral response and it naturally and comfortably encoun- conceptual contemplation. In the text ters the body on a daily basis.” for Roy McMakin: A Door Meant as Adornment, Michael Darling writes; Jesse Mockrin Love and Friendship, 2016 Oil on canvas 37 x 25 inches Courtesy of Elisa Estrada and Night Gal- lery, Los Angeles

Love and Friendship The truncation of the body is a Miami, and her work is also in the New Yorker, T Magazine, Modern 1759 painting La fidélité surveillan- source of both tension and humor collections of the Los Angeles Coun- Painters, and Art Agenda, among te by Jean-Baptiste Deshays. revisits Love the ty Museum of Art (LACMA) and others. Portfolios of her work have and Friendship is one of a 2015- the Hans-Joachim and Gisa Sander been published in Document Journal, 2016 series of paintings that depict and serves to obfuscate the gender Foundation. Mockrin’s work has been and fragments excised and reinterpreted choppedof the figures. into ambiguousNever presented limbs by covered extensively, appearing in Ingénue Magazine. Jesse Mockrin from French Rococo paintings along- thein their edges entirety, of the frame.the figures This arecrop - publications including Artforum, The livesVogue and Korea, works Revue in Los Magazine Angeles. side images culled from contemporary men’s high fashion pictorials. Fluidity, transgression, and pleasure compressesping leaves only the space.a fragment The body of the in mark both styles. Gender differences Lovenarrative and Friendshipaccessible appearsand visually to be collapse in images created 250 years resting on a different plane than that of the dog, and the fabric that shifts from clothing to bed sheet to ribbon bows.apart thatBoth proliferate Rococo paintings with flowers, and creates a tension in perception. fashionleaves, satiny editorials fabrics excel and at feminine creating Through cropping and compression, - of displacement merits celebration inal image is transformed into some- andimmersive criticism. fantasies, and that feeling thingthe immersive discordant, illusion and the of thefantasy orig In Love and Friendship the com- breaks against its own constrained position is focused on the relation- borders. ship between dog and master. With the human face cropped out of the Jesse Mockrin (b. 1981 in Silver frame, the dog’s facial expression Spring, MD) received her M.F.A. from is left to carry the weight of the the University of California, San Diego in 2011, and her B.A. from and out of the fabric punctuate the Barnard College, New York, in 2003. painting. The limbs weaving in Mockrin has had solo exhibitions at interlacing with the curling ribbon. Night Gallery (Los Angeles), Nathalie Thecomposition touch depicted and mirror and implied the fingers in Karg Gallery (New York) and Galerie the painting references the touch of Perrotin (Seoul, South Korea). In 2016 she had a major presentation work. at the Rubell Family Collection in brush to canvas used to create the Owen Mundy I Know Where Your Cat Lives, 2014 Web-based data visualization using one million public photos of cats Team: Tim Schwartz, Nicole Kurish, Shana Berger, Alissa McShane Courtesy of Owen Mundy

I Know Where Your Cat Lives Owen Mundy is an artist, designer, and programmer. His research in- vestigates public space, information that(iknowwhereyourcatlives.com) locates a sample of one million is security, and big data. Works include publica data visualizationimages of cats experiment on a world mobile and web-based apps like map by the latitude and longitude Mirawarri (2017), a photo app alter- coordinates embedded in their native featuring aboriginal artists metadata. The cats were accessed from central Australia; visualizations like illuminus.io (2015–), a re- by popular photo sharing websites. search-based risk analysis tool which Thevia publicly photos wereavailable then APIs run throughprovided appears in the Peabody-awarded web documentary Do Not Track; the a supercomputer in order to repre- online viral big data visualization, I sentvarious the clustering enormity ofalgorithms the data source.using (2014–), This project explores two uses of the which maps seven million images internet: one that promotes sharing taggedKnow Where with #cat Your using Cat Livesthe locations for the sociable and humorous ap- in the metadata users unknowingly preciation of domesticated felines, uploaded to social media; and and one in which the status quo of Me My Data (2010–16), a tool that personal data usage is exploited by helps users export their data backGive out startups and international me- of Facebook. Mundy’s work has been ga-corporations, who are riding the reviewed in The New York Times, The Atlantic, Time Magazine, NPR, I Know Where Your Cat Lives does and Wired Magazine and exhibited wave of decreased privacy for all. in multiple museums and galleries in New York, Berlin, Los Angeles, Rotter- allowednot visualize me to all track of the where cats ontheir the dam, and Mexico City. net, only those public cats that have owners have been. Tim Nohe CosmonautOp, 2016 Musical score for analog modular syn- HD video with stereo sound, TRT: 20:04 thesizer, shortwave, ebow guitar, friction percussion by Timothy Nohe Analog video synthesis digitally composited with Paik-Abe Wobbulator and Rutt- Friction percussion performed by Shelly Etra raster synthesis footage. Purdy, all other instruments by Nohe

Grant in 2011. Four Maryland State footage digitally composited with Arts Council awards have supported Rutt/EtraAnalog Videovideo synthesisSynthesizer and analog found his work in the area of Media; New raster manipulation, and Paik/Abe Genre and Installation/Sculpture and Wobbulator transformations. Video Music Composition, Non-Clasical. In produced while in residence at Sig- 2015 the Warnock Foundation rec- nal Culture, Owego, NY. Screened at ognized his interdisciplinary work in Vigil, Maryland Institute College of urban forests with a Social Innovator Art, Baltimore, April 30 and Worlds award. He is the Founding Director of in Collusion at Artscape 2016. Ex- the Center for Innovation, Research hibited at Kohl Gallery, Washington and Creativity in the Arts (CIRCA). Nohe is an active member of 2017. a number of professional organi- College, November 9 - December 15, zations, including: the Society of Timothy Nohe is an artist and Electro-Acoustic Music in the United educator engaging traditional and States (SEAMUS), the Electronic electronic media in daily life and pub- Music Foundation (EMF), and the lic places. He was the recipient of a College Art Association (CAA). He 2006 Fulbright Senior Scholar Award holds a degree in visual art from the from the Australian – American University of California San Diego Fulbright Commission and an Aus- (M.F.A.), and in photography from tralian – American Fulbright Com- the Maryland Institute College of Art mission Fulbright Alumni Initiative (B.F.A.). Sheryl Oring I Wish to Say, 2004-ongoing Installation, video Courtesy of the Artist

and commissioned performances for responsibility, on the local and that, I work with the material in from urban life, and to create spaces the City of Pittsburgh; Bryant Park “Citizenship and issues of civic bookand videos form, forcreating exhibitions. books outBeyond of provide participants with a respite in New York; the Jewish Museum materials gathered as part of the Berlin; and the Berlin Wall Memorial. theglobal past levels, decade. are Myinterests ongoing that public I performance. Ultimately, the work is where reflection and contemplation Oring’s work has been shown in festi- performancehave been exploring project inI Wish my work to Say for, theare possible.role of art My in contemporarywork fits into a soci - vals such as Encuentro in São Paulo, which I began in 2004, offers an ety,larger as scholarlywell as the conversation role of media about and Brazil, and the Art Prospect Festival - ofarchived public digitallyopinion: on a website that in St. Petersburg, Russia. Her artist ogy. For this work, I set up a public serveshttp://libresearch.uncg.edu/ as an ongoing compendium books are in collections including example of my creative methodol IWishToSay/ technologySheryl Oring in our has daily typed lives.” thousands the Library of Congress, Tate Mod- “The impulse to create ‘I Wish to of postcards to the President from ern and the Bibliothèque nationale dictateoffice – postcardscomplete withto the a president.manual Say’ stemmed from questions about locations across the U.S. since launch- de Luxembourg. Oring, an Associate Participantstypewriter – takeand invitethe original passersby copy to the role of free expression in society ing her I Wish to Say project in 2004. Professor of Art at the University with them, stamped and addressed and the role of artists and writers Her book, “Activating Democracy: of North Carolina at Greensboro, is The I Wish to Say Project,” was pub- currently planning a retrospective of lished by Intellect Books/University her work for the Lois and David Stul- to the White House, and are invited discussionin activating and the exchange, public. In engaging all of my of Chicago Press in 2016. Her public berg Gallery at Ringling College in to mail it themselves. A carbon copy work, I strive to create platforms for- art commissions include major works Sarasota. She received an MFA from rolesremains in this in my work, archive. as I document ticipants. The poetic actions at the for airports in Tampa and San Diego UCSD in 2011. shows“Photography and use the and resulting video play photos key hearta broad of andeach diverse work are audience designed as parto Data Transmissions, 2016 A Man and a Woman, 2017 Tim Schwartz Letterpress prints Video 15 x 11 inches Courtesy of the Artist Courtesy of the Artist

Data Transmissions is a series untarily surrendered to the artist, This piece simply documents a and how our culture absorbs changes of letterpress prints of cell-phone although housed also in one or an- moment. Hillary Clinton speaks to in these areas. He received a BA in screenshots, collected through an other corporate logs somewhere— Physics from Wesleyan University with a process designed to similarly Donald Trump. At the same time and an MFA in Visual Arts from the - distribute information on a mass Americansa nation and — concedes or at least victory identities to University of California, San Diego. ing.open Tim call Schwartz on Facebook, translated that reflects a se- scale hundreds of years ago. Data - In 2010, he developed technology to lectionon the valueof the of submitted data and screenshotsits process tal moment around her. help reunite missing people affect- into letterpress through an arduous always know that we are generating on social media — activate the digi ed by the earthquake in Haiti and process of hand-setting metal type, is cheap today—we do not even - Tim Schwartz (b. 1981 Boston, now organizes a group focused on cutting linoleum blocks, and using er time, display and distribution of Massachusetts) is a Los Ange- family reunification after disasters. a Vandercook mechanical press. it and giving it away—but in anoth les-based artist, technologist, and ac- Schwartz also co-organizes LA Cryp- - tivist who makes works of art focused toparty with Taze and Noname. data was expensive. on technology, information, privacy, He treated the personal data—vol Igor Vamos The Yes Men Fix the World, 2009 Video Courtesy of the Artist

The Yes Men Fix the World is a Igor Vamos is a media artist and engagement intended to address the some nerve, not to mention diabolical 2009 English language documenta- culture jammer. Vamos is also known root causes.” intelligence... to pull off the elaborate as “Mike Bonanno,” in his work with The Yes Men Fix The World was pranks devised by the Yes Men.” The Yes Men, the performance-activ- an official selection of the 2009 Vamos is also well-known for his premieredry film about in theNew culture York City jamming and Los ist duo that impersonates captains of Sundance Film Festival and won the collaborative public art projects such Angelesexploits onof The October Yes Men. 23, 2009 The film and in industry and surprise unsuspecting Panorama Audience Award at the as the Barbie Liberation Organiza- other U.S. cities beginning on Octo- business audiences with satirical, 2009 Berlin International Film Festi- tion and the Center For Land Use poignant actions that comment upon val. The movie, which chronicled the Interpretation, a non-profit organi- by United States Chamber of Com- pressing social and environmental hijinks of the Yes Men, earned praise zation dedicated to the increase and ber 30. Due to the movie being sued issues. from national and international press dissemination of knowledge about is distributed through bittorrent “After 10,000 years of a stable and was hailed as “fiendishly amus- the nature of human interaction with throughmerce, a VODOspecial and edition other of prominent the movie climate, the earth has entered a pe- ing” by the Washington Post, while the Earth. torrent sites like The Pirate Bay and riod of great instability,” says Vamos. the New York Times said, “It takes EZTV. “Because of this, students today will Andy Bichlbaum and Mike likely face environmental and social Bonanno are notorious prankster problems at a scale and complexity that civilization has yet to witness. It industry and use their faux authori- is for this reason that my focus as an tyactivists to expose who corporate pose as captains criminals. of In educator and a communicator has The Yes Men Fix the World, they focus been to help prepare them to pro- on industry efforts to capitalize on actively work towards solving these manmade disasters, from Hurricane emergent problems, both through - applied multi-disciplinary projects ter in Bhopal. that treat the symptoms, and by civic Katrina to the environmental disas Nina Waisman Bacterial Behaviors / Tunnel by The Labo- Performing Artist Collaborators 2017 Scientist Collaborators ratory for Embodied Intelligences Miles Brenninkmeijer Penelope J. Boston, Director, NASA Astro- Narrative Framework: Nina Waisman Jonathan Bryant biology Institute (NAI) Choreography: Nina Waisman and Flora Alfonso Cervera Moh El-Naggar, USC Robert D. Beyer Early Wiegmann Career Chair in Natural Sciences Hyosun Choi Videography: Carole Kim and Meena Christina Ford, MD, AMA, Integrative Murugesan Hyoin Jun Psychiatry & Wellness Sound Composition (for video, not perfor- Flora Wiegmann Fathi Karouia, Senior Research Scientist at mance): Nina Waisman NASA Courtesy of the Artist

Nina Waisman founded and directs the Laboratory for Embod- yet only recently did we learn that “allWhy? mobile We evolved unicellular from organisms microbes, that mines research on non-human possess the fundamental charac- intelligencesied Intelligences in order (LEI), to a producecollective experiences allowing humans to Lori Marino). Perhaps fundamental teristics of nervous systems” (Dr. - reason” we think unique to humans “try on” non-human perspectives. belongcognitive in capacitiessome form and to microbes. “modes of LEI believes this visceral perspec We know they communicate - in classictive will data allow analysis. researchers Projects to gainto date fact, they are multi-lingual. They knowledge unavailable through - perthave Florabeen Wiegmann,shaped by Waisman in collabora and- years.have survived Surely there and communicatedare a few things tionfounding-member/movement-ex with context-determined teams wewith can each learn other from over cultures 3.5 billion exponen - of artists, scientists and enthusiasts of many stripes. LEI’s offerings than we are? Looking outward, - astrobiologiststially more long-lived agree thatand microbesadapted es to workshops, installations and are the most likely form of life we DNA: much of this microbial culture microbial colleagues and ancestors range from site-specific performanc will encounter out in the cosmos. is in direct dialogue with our so- employ, and how do human logics Can our terrestrial bacteria help us - and languages compare to microbial video - experiences aiming to make communicate with these extrater- physically palpable for viewers and restrials? Closer to home, humans calledWhat cerebral can we processes, learn from individu the potential dialogues with our genetic participantsLEI has begun ongoing this discoveriespursuit with a ally and collectively. parentsbehaviors? and LEI partners. is excited to explore about non-human behaviors. in and on their bodies than human communication methods our have 100 times more microbial DNA highly successful behaviors and close study of microbial behaviors. Nina Waisman (cont.)

As a former dancer turned instal- non-human intelligences, includ- lation artist, choreographer and di- ing microbial and extraterrestrial rector, Nina Waisman is fascinated by intelligences. With support to date the critical roles that movement and from 18th Street Arts, Lucas Artists’ sensation play in forming thought. Residency, Hammer Museum, SETI Her interactive sound installations, Institute Artist in Residence program sculptures, videos and collaborative and others, this project has produced performances highlight the sublimi- performances in urban space, public nal training and possible hacking of movement workshops for all ages, such embodied thinking. These works art-science think tanks and panels. focus on related issues including sur- Next up will be interactive installa- veillance, invisible labor, border con- tions, videos and performances at the trol, machine-human feedback loops, Music Center in Los Angeles. Wais- nanotechnology. Venues include 18th man is the founder and lead artist Street Arts Center, Hammer Museum, for the Laboratory for Embodied MOLAA, LAXART; CECUT Tijuana; Intelligences, a multi-year project OCMA/California Biennial; Beall Cen- exploring embodied thinking and ter; FILE Sao Paolo, The Museum of non-human intelligence, which she Image and Sound, Sao Paolo, MOLAA, directs. With degrees from Harvard, Zero1, ISEA, House of World Cultures, Art Center College of Design and Berlin. Waisman’s current series UCSD, she has taught at institutions of collaborative artworks explore including Cal Arts, SFAI, UCSD, Casa the role of embodiment in forming Vecina of Mexico City. Ruth Wallen Listen to the Trees, 2017 Photographic print, tree stumps, website 12 x 18 inches Courtesy of the Artist

- tree represents climate projections Since 2010, over 130 million basedfrom available on a-high-emissions climate models. or “busi One - more.trees have Listen died to inthe California--rav Trees, created for ness as usual” scenario (RCP 8.5), theaged exhibition, by beetles, Weather drought, on fires Steroids: and another represents a-low-emissions The Art of Climate Change Science - curated by Tatiana Sizonenko, ad- nario (RCP 4.5). For the Jeffrey pines dresses the heartbreaking current theor “enlightened tree ring diagrams government” are based sce on and predicted future losses of trees historical data from 1900-2016 and in San Diego forests. The piece projections from one model to 2100 chronicles two areas in San Diego under the high emissions “business - as usual” scenario. Not only do the ly, the Laguna Mountains and coastal - TorreyCounty Pinesthat I Statehave Park.visited repeated alize actual or projected climate, but justtree asrings tree serve stumps as a are means often to labeled visu my walks offer a series of glimpses, “Photomontages evocative of treewith ring, historical pressing events on selectedthat occurred rings incomplete views at a variety of in the year corresponding to a given Ruth Wallen is a multi-media Contemporary Art, curated by Lucy scales evocative of the enchanted artist and writer whose work is dedi- Lippard, and recently has been ad- vibrancy of life. Assembling them is reveals similar information, in the cated to encouraging dialogue about dressing climate change in collabora- ecology and social justice. She creates tion with scientists at Scripps. Ruth contemplatean act of reverence the scene. and Onelove. stump Tree is hasform occurred of a short or narrative might occur and in image that stumps invite viewers to sit and about a local ecological event that web sites and outdoor installations writes critically about ecological art and has participated in innumerable and race, gender and visual culture. displays diagrams of tree rings of to what they see by writing letters to fitted with an ipad touch screen that year. Viewers are invited to respond exhibitions. Solo exhibitions range She is on the faculty of the MFA in the Torrey pine and the Jeffrey pine. the trees or offering suggestions for from Franklin Furnace, CEPA, New Interdisciplinary Arts Program at For the Torrey pines, tree rings are Langton Arts, to many local venues. Goddard College, a lecturer at UCSD, diagramed from 1950-2100 based http://www.ruthwallen.net/ enlightened governmental actions.” Web site hosts include the California and was a Fulbright Lecturer at listentothetrees Museum of Photography and the the Autonomous University of Baja on soil moisture data averaged Exploratorium, where her work is California, Tijuana. She studied with currently on view. She was part of the Harrisons and graduated with an Weather Report: Art and Climate MFA from UCSD. Change at the Boulder Museum of Allison Wiese Bicker / Banter, 2014 20 x 30 x 2.5 inches neon signage (3/6)

“I am a sculptor. I create poetry ly aware of some of the essential out of common things, repurposing or repositioning common materials - language?questions ofOr my is our work: communication can we have wood, fruit, signage or a whistled socommunity? contingent Can that we we’re have all a sharedactual- tune.to make I also new use meaning. shards ofI use common fire ly alone? My projects often locate language – literal texts like slogans

- broadthemselves publics outside with thesethe walls questions.” of cinatedand symbolic by the language way we look such at as our flags traditionalBicker / artBanter venues, and andSlap confrontSlap or football “fight” songs. I’m fas - Kiss are two of an ongoing series tural and political lenses. My work surroundings through invisible cul from screwball comedies using and signs by remixing them. I’m of signs that announce film tropes oftenattempts concerned to subvert particularly inert objects with employ a medium, form and scale American cultural myths: California typicallya vintage used neon for palette. barroom The beersigns as a paradise reducible to a com- - the positioning of industry and work draggingadvertisements forward from into the the mid-twen present ethicmodity as cornucopia,icons of American for instance; character. or common-sensetieth century, testing cultural the ideals efficacy we of all Beyond the immediate symbolic breath as something more than plot culture, I draw on and attempt to alter, I’m more and more conscious- devices. Allison Wiese Slap Slap Kiss, 2017 (cont.) 30 x 20 x 2.5 inches neon signage with flasher unit (2/6) Courtesy of the Artist

Allison Wiese is an interdisciplin- of Houston. Wiese is a fellow of the ary artist who makes sculptures, MacDowell Colony, an alumna of the installations, sound works, perfor- Skowhegan School of Painting and mances and architectural interven- Sculpture and was a Core Fellow of tions. Her work has been exhibited the Museum of Fine Arts, Houston. throughout the United States, among She earned an MFA in Visual Arts other venues at Machine Project in from the University of California San L.A., the Museum of Contemporary Diego in 2000. Wiese learned to walk Art, San Diego and Socrates Sculp- and talk in Brooklyn, Drive in South- ture Park in New York. She was the ern California and everything else recipient of a 2007 Louis Comfort important in Texas. Wiese currently Tiffany Award and has received lives in San Diego, where she teaches grants from Art Matters, Creative at the University of San Diego. Capital and the Cultural Arts Council Installation photographs by Farshid Bazmandegan

The Agency of Art April 12 – May 17, 2018 University Art Gallery Mandeville Center 216 Mandeville Lane/9500 Gilman Dr La Jolla, CA 92093-0327

The Agency of Art is curated by Tati- Special Acknowledgements: ana Sizonenko, PhD, 2013 The Department of Visual Arts sin- cerely thanks participating artists, Catalogue design: alumni, and lending institutions for Nick Lesley & Gabi Schaffzin their generous support and loans of works. We would particularly like to This exhibition and catalogue made recognize Charlie James Gallery, L.A. possible with support from the Department of Visual Arts at UC in Los Angeles, and Quint Gallery in San Diego. Special thanks to Jack SanLouver Diego. Gallery, and Night Gallery committee, including Kim MacCon- This program is supported through nel,Greenstein Fred Lonidier, and the Sheldon 50th anniversary Nodel- the Department of Visual Arts and

Genderen. UC San Diego. We are also grateful man, Susan Smith, and Monique van toDivision Muir College of Arts andand JacobsHumanities School at Exhibition installation assistance: of Engineering for supporting The Agency of Art. and Tad Linfesty Drei Kiel, Lucas Coffin, and Drei Kiel Exhibition Signage: Lucas Coffin,

Editorial advice: Dr. Gareth Davies-Morris VA 50 Professors Emeriti Helen Mayer and Newton Harrison

VisArtsFifty art into life