y 2013 l APRIL—Ju

1 EXHIBITIONS LA JOLLA

“One of the essential functions of science fiction, I think, is precisely this kind of question-asking: reversals of a habitual way of thinking, metaphors for what our language has no words for as yet, experiments in imagination.” —Ursula K. LeGuin

Approximately Infinite Universe

On view 6/8/13 through 9/1/13 > La Jolla Approximately Infinite Universe is an exhibition loosely inspired by science fiction, with its explora- tion of other possible worlds, its dislocation of spatial and temporal trajectories, and its challenges a l nd Hu m n to make distinctions between self and other, human and alien. The artists in the exhibition under- stand art as a vehicle for time travel, employing an array of mediums as means to move backward and forward through time. Such work revisions fraught histories and envisions utopian futures, with

the effect of gaining insight into our complicated present. l a nce of F lor a l Ba Recently, allusions to space travel and depictions of the cosmos have appeared with increasing frequency in contemporary art and in the broader culture. One way to understand this phenomenon might be to see it as part of a larger escapist impulse in the twenty-first century zeitgeist: consider the recent development of commercial spacecraft and privatized space exploration, or last year’s proposal by presidential primary candidate Newt Gingrich for a colony on the moon. , (D ETAI L), 2011, s ite- pe c i f wa ll w o r k reate d n anva , st

Rather than simply referencing the motifs and rhetoric of space travel, the artists in Approxi- a 30 in. 2012, a c ry l i , water colo r, re d pen o n paper, 22 x 30 in. y, mately Infinite Universe employ ideas and metaphors associated with experimental science fiction a i c N e u rolog thet i c Pl a nt Alchemy: (such as that of writers Ursula K. LeGuin, Octavia E. Bulter, and Samuel R. Delany) to rethink cultural categories, imagine new and different sets of social and sexual relations, and to create alternative realities in which historical and fictional figures interact. Approximately Infinite Universe is an exhibition featuring contemporary artistic thought experi- ments, exploring ideas surrounding aliens and others, bodily mutations, disorientation and ges from the book E m pa the book from ges weightlessness, reproductive technologies, utopia and dystopia, cities of the future, Afro-futurism, a and meta-histories, among others.

Approximately Infinite Universe is organized by the Museum of Contemporary Art San Diego and is made possible by a generous gift from the the 9 x 18 f eet, three pane ls . Sh o wn at N ature M rte Ber l in an d Go then b urg Kun s tha ll e. C urte y of the W arti s t. B A CK CO VER : De irée Holm an, Mi lky F R O NT C o ver: Chitra G ane s h, T he Fu t u re i the P C o urte s y of the arti t an d Je ss i c a Si l ver m G ll ery, San Fran sco . 2011, g o ua c he n paper. C urte s y of Marg an d Fran k W a l ter. © Saya Woolf lk . E nergy, Cochrane Exhibition Fund. Institutional support for MCASD is provided, in part, by the City of San Diego Commission for Arts and Culture. Saya Woolf a lk , P

2 3 EXHIBITIONS LA JOLLA

Lifelike

On view through 5/27/13 > La Jolla Featuring a range of artists from the 1960s to the present, this group exhibition focuses on artists who embrace the visual vocabulary of everyday life, often painstakingly recreating mundane objects and images in their work. Their uncanny works play with verisimilitude but also foreground the fabri- cation of representation that they create. In today’s intensely mediated world, the attainment of trompe l’oeil figuration is easily afforded by digital technologies, which many artists use to compelling effect. Lifelike, however, favors artists who primarily focus on the handmade and often labor-intensive practice, rather than the straightforward route provided by new media. Showcasing a range of approaches from painting and sculpture to moving images, drawing, and photography, the exhibition surveys approximately 80 works by more than 50 artists, including: Robert Bechtle, Maurizio Cattelan, Vija Celmins, Robert Gober, Charles Ray, Gerhard Richter, Ai Weiwei, and others. The exhibition is accompanied by a 200-page full color publication with essays by Siri Engberg, Michael Lobel, Rochelle Steiner, and artist Josiah McElheny.

Lifelike is organized by the Walker Art Center and made possible by generous support from John L. Thomson and the Andy Warhol Foundation for the Visual Arts. Additional funding for the San Diego presentation has been provided by a grant from the ResMed Foundation. Institutional

PH O T OS: PA BLO M A SO N . support for MCASD is provided, in part, by the City of San Diego Commission for Arts and Culture.

4 5 EXHIBITIONS DOWNTOWN EXHIBITIONS DOWNTOWN

The Very Large Array: San Diego/Tijuana Artists in the MCA Collection

OnGOING > DOWNTOWN Featuring more than 100 artists and representing five decades of collecting, this expansive exhibition SCOLI ACOSTA: of Museum acquisitions highlights many of the region’s most beloved and accomplished artists. With two-dimensional works displayed in a salon-style installation, the white cube space at the center of ELEMENTALISTHMUS the room presents focused, thematic selections, which change seasonally. Last month, we debuted the second rotation of the cube, spotlighting artists whose work explores On view through 6/23/13 > DOWNTOWN the politics and psychogeography of the U.S.-Mexico border. This presentation features significant, Scoli Acosta’s first solo museum exhibition on the West Coast rarely seen works of installation art such as Victor Payan and Perry Vasquez’s Keep on Crossin’ features a number of the artist’s Pentagonal Monochromes (2003–05) and the provocative and influential project Art Rebate/Arte Reembolso (1993) by David (tambourines), which are composed of canvas stretched over Avalos, Louis Hock, and Elizabeth Sisco, who famously distributed ten-dollar bills to undocumented handmade stretcher bars, edged by jingles made from flattened workers in San Diego, illuminating the workers’ unacknowledged role as taxpayers in the local bottle caps. Moving beyond the “specific object” of the 1960s, economy. Acosta’s tambourines are at once paintings and functional In July, the cube will feature a two-person exhibition pairing early works by Manny Farber and objects, diverting the legacy of modernist painting to the realm Faiya Fredman. Juxtaposing Farber’s paintings on collaged paper from the late ‘60s and ‘70s and of the everyday, the hand-held, and the percussive. Fredman’s mid-1970s works of fleece and sand on canvas, the exhibition considers questions of process and materiality in the work of two distinctive San Diego artists. Scoli Acosta: ELEMENTALISTHMUS is organized by the Museum of Contemporary Art San Diego with the support of Dar al-Ma’mûn International Residency Center for Artists. Institutional support for MCASD is provided, in part, by the City of San Diego Commission The Very Large Array: San Diego/Tijuana Artists in the MCA Collection is organized by the Museum of Contemporary Art San Diego.

for Arts and Culture. PH O T OS: PA BLO M A SO N . Institutional support for MCASD is provided, in part, by the City of San Diego Commission for Arts and Culture.

7 EXHIBITIONS DOWNTOWN EXHIBITIONS DOWNTOWN

LIZA LOU: COLOR FIELD

On view 7/12/13 through 11/3/13 > DOWNTOWN In her mesmerizing sculptures, Liza Lou expands the possibility of familiar objects and enlivens abstract shapes through the methodical application of glass beads, as she FROM THE COLLECTION: WORK OF THE 1970S does in Gathered (One Million), pictured here. MCASD will debut Color Field, Lou’s newest, large- On view through 6/23/13 > DOWNTOWN scale sculpture, measuring more than 20 feet by 20 This selection of artworks, primarily from the 1970s, highlights objects from the Museum’s collection feet. Composed of thirty-two shades of colored beads that emphasize materiality, showcase process, and leave room for variability and imperfection. meticulously placed on small wire supports, the “field” of Materials such as clay, caulking, resin, plaster, tape, and acrylic sheeting are all used in unexpected abstract painting will become an unlikely garden on the ways. By revealing the act of making, these artists correlate studio practice with experimentation and gallery floor around which visitors can walk: a shimmering an expression of time. moiré of color in the light-filled space. Color Field was O ne m i ll on) in Dur b an, S o uth Af ri c a 2010. These irregular objects with their abstracted references offer a counterpoint to the sharp logic of begun in Durban, South Africa and will be completed at minimalism and the familiar imagery of pop art, two impulses which dominated the previous decade’s ther ( MCASD, where teams of volunteers will aid in the work’s art. In these works, the modernist grid of stability is handmade and irregular, and artists allow for installation over a two-week period. allusions to the land, the cosmos, and the body. Liza Lou: Color Field is organized by the Museum of Contemporary Art San Diego. From the Collection: Work of the 1970s is organized by the Museum of Contemporary Art San Diego and is made possible by a generous gift Institutional support for MCASD is provided, in part, by the City of San Diego

from Barbara Bloom. Institutional support for MCASD is provided, in part, by the City of San Diego Commission for Arts and Culture. PH O T O: PA BLO M A SO N . Liza L o u w r ks n Ga Commission for Arts and Culture.

8 9 ARTIST SPOTLIGHT

ARTIST SPOTLIGHT: Years of extensive travel and an intimate heat. In the end, he found that “surrendering to relationship with language and literature have the natural elements, instead of fighting them,” SCOLI ACOSTA enabled Los Angeles-based Scoli Acosta to was essential to his artistic practice. translate his personal experiences into works So what is the meaning of the unusual exhibi- of art. This is one of the many fascinating tion title, Scoli Acosta: ELEMENTALISTHMUS? MCASD Intern Jewel Goode insights I gleaned when I sat down to speak with Acosta explained its etymological root: in Greek, sat down with artist Scoli the artist while he was installing his work in isthmos means neck, and isthmus is a land Acosta to find out what makes MCASD’s downtown galleries. bridge. The artist liked the whimsical sound Using a variety of media including painting, of the made-up word, which he jokingly said him tick. Turns out it’s travel, drawing, photography, sculpture, perfor- sounds like an art movement. The title also totems, and pentagons. mance, and installations, Acosta encourages references the symbolic passage linking the a transformative and often metamorphic physical, psychological, and emotional states process involving humble materials and found of mind and body while celebrating the Earth’s objects from his immediate environment. The natural elements. In Medieval alchemy and “aesthetics of resourcefulness,” a phrase he Paganism, the pentagon—a recurring motif in often uses to describe his work, pays tribute Acosta’s work—represents an idea or the spirit to the necessary resourcefulness of materials as the fifth element, a concept that is prevalent he employs during his travels. “There is always in this body of work. a natural inclination to make something with Acosta first took notice of the pentagonal nothing, bringing into focus that which previ- form after viewing Chris Marker’s film,T he Sixth ously existed in the periphery,” the artist Side of the Pentagon, which documents the explained. 1967 march in protest of the war in Vietnam. When asked about his creative process, There he learned about Yippee activist Abbie Acosta said that nearly everything around him Hoffman’s performance during this protest acts as a source of inspiration: the ocean, the to try to use psychic energy to levitate the soulful music of Nina Simone, literature, the Pentagon, at which point he believed the war in Moroccan adventures of Paul Bowles, or encour- Vietnam would end. 2012, C-print. gon), 2012, C-print.

a agement from family members and friends. At last month’s TNT (Thursday Night Thing), For his current exhibition, Acosta presents Acosta staged a performance referencing work made during a four-month residency in Hoffman’s attempt to levitate the Pentagon t the Pent a Morocco, evidencing his profound connection in 1967, linking the past with the present. See gon ( a to geography, landscape, and music. Many of Acosta’s exhibition in the downtown galleries the objects on display are inspired by Moroccan through June 23. Bendir drums, such as his (Peripheral) Dot t i ng the Pent

a Ribbon Totem. What was most memorable vi t about his residency? He was continually pushed SCOLI ACOSTA: ELEMENTALISTHMUS out of his comfort zone. This meant battling ON View ThrOUGH 6/23/2013 > DOWNTOWN, JACOBS BUILDING insect infestations, poor sewage and sanitation See PAGE 6 for more information. C o urte s y the arti t an d G a l erie Laurent God in, P ari . h b R eter m an. S col i Acos ta, L e conditions, as well as the sweltering 120 degree

10 11 INSIDE SCOOP INSIDE SCOOP

“There is history we learn about second hand—in books, in films, and other media Then, there is lived history.” 2 Robert Pincus reflects on an exhibition’s history and his own. 4

For me, the expansive exhibition, The Very Large distinctive when I saw it in a 1985 exhibition—and Array: San Diego/Tijuana Artists in the MCA still does. The border has changed, but not the Collection, co-curated by the Museum’s David essential insights of his image. He contrasts the C. Copley Director and CEO Hugh M. Davies and urban density of Tijuana and the suburban land- Associate Curator Jill Dawsey, embodies this scape taking shape on the American side of the second kind of narrative: it conveys local art fence. The entire image is presented with a great history that parallels my own past. While a few eye for color and for panoramic space. selections reach back to the 1950s and 1960s, On that same wall is Robert Ginder’s House most date from the 1980s, roughly the same (1984) 2 , with its typical, modest early 20th 3 1 time period in which I served as art critic of the century Spanish style home. The house itself is San Diego Union (1985–1992) and the San Diego a kind of Southern California icon, and the artist Union-Tribune (1992–2010). offers up a beautifully crafted conceit about it by Seeing this exhibition, it occurred to me that employing a gold leaf sky and arched panel that I had written reviews or stories about most of together strongly evoke iconic Christian painting. the artists represented in this exhibition. (By my Putting a human face on a sense of place is count, there are only five out of nearly a hundred a nearby picture by Alida Cervantes, from her that I didn’t cover at one time or another, in the Housekeeper Series: Adela, Vicenta, Jema, Toña, Union-Tribune and on occasion in Art in America Angela (1999) 3 . She renders fairly large frontal or Art News.) portraits of local domestic workers—one per The Very Large Array seems like the perfect canvas. way to build on what MCASD accomplished with Facets of the region are more subtly asserted its 2010 show, Here Not There: San Diego Art in other works, such as Manny Farber’s masterful Now. And a point I made in my review of that large picture Batiquitos (1995) 4 . The plants, 3 show applies equally well to this one: “There is flowers, vegetables, and fruit he painted were no dominant San Diego School of Art.” personal emblems for Farber, in this and so many But however eclectic this work is, you will find of his paintings. Yet the fecundity of this imagery art that conveys a sense of this complex region. also has a subtle link to the collective notion of Wick Alexander’s painting La Linea (The line) Southern California as temperate “paradise.” (1985) 1 seemed wickedly witty and stylistically For viewers who have followed the evolution of any of these artists—and of San Diego art in general—you will surely experience a sense of your own lived history in this exhibition. For those THE VERY LARGE ARRAY who have not, The Very Large Array is a rich ONGOING > DOWNTOWN, JACOBS BUILDING introduction to art made in San Diego and Tijuana See PAGE 7 for more information.

during the past half century. PH O T OS: PA BLO M A SO N .

12 3 13 NEWS NEWS

GET SEEN. MCASD’S ART CONTEST RETURNS. MCASD Goes Gangnam Style for Freedom

It’s BACK! MCASD’s 25 and Under Art The deadline for entries is Monday, April 22. Thought you saw MCASD staff and board members “riding the pony” on YouTube? You weren’t Contest is ready for round two. Are you? Our esteemed panel of judges will select twenty- dreaming. You probably just caught the tail end of Anish Kapoor’s Gangnam Style parody video Our annual contest kicked off last spring when five finalists. We’ll then invite you to vote for released last December. we asked you (all you folks under 25, that is) your favorites on Facebook and in person at the Chinese artist and activist Ai Weiwei created his own parody of Korean pop music sensation Psy’s to create artwork inspired by the human eye. showcase event on Thursday, May 16. After the viral Gangnam Style music video as a comment on the lack of freedom in China. It was banned We were blown away by your creativity. showcase event, all twenty-five finalist entries shortly after its release. In response, internationally acclaimed artist Anish Kapoor organized a We received more than 100 entries, 200 will be displayed at Westfield Horton Plaza massive Gangnam Style video in support of the artist. “Gangnam for Freedom by Anish Kapoor and votes in person, and more than 4,000 votes through August. We will select four winners in Friends” received widespread support by human rights organizations, museums, and well-known on Facebook. Artwork entries ranged from the following categories: People’s Choice (first artists such as Mark Wallinger and Bob and Roberta Smith. MCASD was invited by Kapoor to submit sculptures, drawings, and paintings to video place and honorable mention) and Curator’s a video, which was ultimately incorporated into the final cut and available to view on YouTube. and installation works. Choice (first place and honorable mention). The The Museum has a long history of supporting Ai Weiwei and his work. In 2011, MCASD’s And this year we’re expecting to see even first place winner in the Curator’s Choice cate- International Collectors group visited the artist in his studio in Shanghai just months before he was more! So visit our galleries (don’t forget— gory will receive $500 in art supplies arrested. When the authorities refused to release Ai Weiwei, MCASD staged a 24-hour silent sit-in admission is FREE if you’re 25 or under) and and a Dual/Family Membership. Get busy. to protest his detainment. Ai Weiwei’s fight to remain an uncensored voice for the people of China get inspired. Again, we are accepting artworks Fame awaits! is an effort MCASD proudly supports. in many mediums, and only ask that you use the Greedy Organ (a.k.a. the human eye, whose visual appetite is rarely sated) as

thematic inspiration. Visit www.mcasd.org to submit your entry. PH O T OS: B RYAN ANGERTER . VISIT our blog at mcasd.org/BLOG to SEE the video.

14 15 MCASD COLLECTS

1995 1990 1993 1994 1986 1996 1988

MANNY FARBER SOL LEWITT Story of the Eye, 1985 JOSE BEDIA ROBERT THERRIEN Isometric Pyramid, 1983 LORNA SIMPSON Vamos Saliendo Ya! (Let’s Leave No Title (blue cloud), 1992 BYRON KIM Guarded Conditions, 1989 MATTHEW BARNEY now!), 1994 Synechdoche: Barbara TI ascending HACK Arledge, C.W. Kim, ... Victor descending HACK, 1994 2000 Vilaplana, 1994 1997 1998 2001 1999 SELECTION DINNER 2013

This year, MCASD’s Collectors groups celebrate their 28th anniversary. Thanks to the combined support of the International and Contemporary Collectors, MCASD has added 94 works to its collection—works that were VIK MUNIZ collectively purchased for approximately $3.2 million and that today are GARY HILL Milan, The Last Supper (from Pictures of Chocolate), FRED TOMASELLI valued at over $12.5 million. The support from our Collectors groups has Learning Curve (still point), 1993 1997 Head with Flowers, 1996 JOHN CURRIN Solomon Huerta The Hobo, 1999 Untitled Figure, 2000 allowed our curators to discover new artists, enrich the MCASD collection, and build an engaged and informed community of collectors in San Diego. 2001 2002 2003 2004 Each year, MCASD’s curatorial staff organizes an exhibition of works to 2002 be considered for acquisition by these two groups. This year, Members will review works by artists Chiara Banfi, Andrea Bowers, Tiago Carneiro da Cunha, Abraham Cruzvillegas, Iñigo Manglano-Ovalle, Martha Rosler, and Anna Sew Hoy. The works are then selected by ballot at the group’s annual celebratory occasion—the Selection Dinner. This year’s dinner will be held on May 8 in La Jolla. We are grateful to the Northern Trust Company for generously underwriting this special event. CELESTE BOURSIER- MOUGENOT ERNESTO NETO INterested in joining the group? CINDY SHERMAN YASUMASA BARBARA KRUGER Untitled (series #3), 2001 Mother, body emotional densities. Contact EDIE NEHLS at [email protected] Untitled, 2000 MORIMURA Untitled (Memory is Your Image for alive temple baby son, 2007 or 858 454 3541 x179 An Inner Dialogue with Frida of Perfection), 1982 Kahlo (Collar of Thorns), 2001 2012 2005 2006 2007 2010 2011 2007 2009

JOSHUA MOSLEY ROBERT IRWIN Dread, 2007 DOUG WHEELER AI WEIWEI Who’s Afraid of Red, Yellow and Marble Chair, 2011 TARA DONOVAN NANCY RUBINS ERWIN REDL Untitled, 1965 Blue 3, 2006–2007 Untitled (pins), 2004 Pleasure Point, 2006 Matrix II, 2000 JACK WHITTEN Chinese Sincerity, 1974

16 17 IN MEMORIAM MEMBER EXCLUSIVE

David C. Copley (1952-2012)

Each person impacts the world in a unique and inspiring way. On November 20, 2012, the MCASD family was heartbroken to lose an individual who positively impacted not only the Museum, but arts organizations throughout the region. 1975, c har co a l an d pa s te o n o u nt i es, David Copley was the Museum’s current Board President and served as a Trustee for more than 15 years, and his legacy will reso- nate for years to come, not only at MCASD, but also throughout the San Diego community.

As early as 1993, David helped grow the Museum by supporting the opening of MCASD Downtown onom a nd Ma r i n C at America Plaza. In 1998, his $1.5 million gift through the James S. Copley Foundation endowed the Directorship of the Museum. And again, in 2004, David enabled the Museum to expand downtown with his $3 million gift for construction of the Copley Building, designed by Richard Gluckman. S for j ect Pro David was an avid art collector of works by Christo and his wife and collaborator, Jeanne-Claude. He generously bequeathed 39 of these works to the Museum, which will be featured in an exhibition that will open on David’s birthday next year, January 31. “David cared deeply about art and understood the value of a museum to a vital community,” said Looking for a

Hugh Davies, the David C. Copley Director and CEO at MCASD. “We’ve lost a very, very good friend.” nn i ng F ence, Chri s t o , Ru paper. C oll e c ti o n Mu s eu m of nte p rary A rt San Dieg , pur ha e. © 1975 Chri tO Shore Thing this Summer? Thursday nights just got more interesting.

This summer, we’re opening our doors until 8 PM every Thursday night from June 13 through August 29. View films or tour the galleries until late into the evening, enjoy cocktails with friends and bites from food trucks, watch the sun set from the terrace, and picnic in the Sculpture Garden. From the galleries to the sea, MCASD La Jolla will be the place to be. PH O T O: PA BLO M A SO N .

18 19 MEMBER PROFILE

the fine art community and the design and Keeping up With the Hollanders architecture communities intersect. Meet Viveca Bissonnette and Jeff Hollander: interior designer and architect, respectively, owners of Hollander Design Group, MCASD: What is your favorite dive bar? VB: Nunu’s! It is the perfect dive bar in parents, art lovers, founding members of Avant Garde, and Hillcrest—great crowd, big red leather co-chairs of the Third Annual Summer Solstice Soiree. booths, and a great burger.

MCASD: Where is your go-to spot for a MCASD: How did you become involved with MCASD: Do you feel it is important for craft cocktail? the Museum? museums to have special interest groups like JH: Here in San Diego—Noble Experiment. VB: I’ve been a Member for a long time, but the Avant Garde? first time I felt truly connected to the institution JH: Absolutely! The population is not homog- MCASD: I hear you have a passion for was during the first Summer Solstice event. enous—customization is key to the success of cupcakes. Would you care to elaborate? I felt inspired to become more involved, which an institution—as well as engaging and invest- JH: Viveca suggested that it would be speaks to the power of the Jennifer Steinkamp ing in emerging communities. a great way for me to connect with my installation. It really spoke to who you were as a daughter, so I bought her a book about Museum, and it was exciting and provided a de- MCASD: What is a favorite recent exhibition? cupcakes for her birthday and we began to gree of access I had previously not experienced. VB: Tara Donovan. It was stunning, awe-in- make them together on Sundays. It became spiring, and a true example of the power of art an opportunity for us to explore flavors and MCASD: What is your favorite part about and how the Museum itself can become part experiment with innovative designs. It really Avant Garde? of the piece. It really spoke to who we are as unleashed her creativity—she even started JH: Growing up, my parents were very involved designers—we, too, transform spaces. a blog and is now the official cupcake baker with museums, the opera, and the theater which JH: MIX: Nine San Diego Architects and for all her friends’ birthdays! engendered an appreciation for the arts at an Designers. I was blown away by the raw social early age. I truly believe that art is good for the power of the work—the people I met and con- world and good for the soul. The Avant Garde versed with while waiting in line were people group provides a deeper connection to art and I wouldn’t have normally met. Everyone was who we are and what we do. Viveca and I are excited and discussing the work. I would love both so passionate about the arts—in fact, it is to see the Museum go beyond its walls even what we share and what brought us together. more. For example, I thought the La Jolla We feel it is vital to give back to the commu- Murals walking tour, part of the Avant Garde nity by increasing exposure to the arts, and to C.A.T. series, was a great example of moving people who perhaps didn’t have the same arts- beyond the gallery. focused upbringing. It is important to ask the question, “How can we help fill the void?” MCASD: What are your hopes for Avant VB: I was raised in much the same way. With an Garde moving forward? architect mother and an urban planner father, JH: I would love to see the group come DON’T MISS THIS POWER COUPLE’S NEXT BIG PROJECT I grew up surrounded by artists and designers together and form a tight-knit community—a AS THEY CO-CHAIR MCASD’S and learned to appreciate art at a very early true network of individuals who have a love THIRD ANNUAL SUMMER age. I love that Avant Garde provides an inti- and appreciation for the art community. SOLSTICE SOIREE ON JUNE 21. mate connection to art, to the Museum, and to VB: To continue to explore art on a visceral CHECK THE CALENDAR FOR

other like-minded individuals. level and to facilitate a gathering place where PH O T O: JO HN D URANT . MORE DETAILS.

20 21 INSIDE SCOOP

How was the transition from the ICE Gallery really connected, and now Joey’s actually his to Bread & Salt? Does it feel like a moment personal assistant. for re-invention/re-interpretation of your Lee: MCASD has taught me so much about artistic goals? contemporary art. They’ve helped me expo- Thomas: This is an exciting time for us. We were nentially in talking about it, understanding it, at ICE in North Park for a little over two years, and handling it. The environment is perfect for and now it feels like the right moment to be me because I live and breathe art twenty-four doing something like this. When you’re creating hours a day: I read art books, draw, and try something, no matter what it is or where you to visit other museums. If I’m not involved in are, it feels like re-invention every time. art, I feel really guilty. It’s like an itch I have to HANGING WITH THE ICE GALLERY GUYS Lee: It’s important to keep working and expan- scratch. ding your vocabulary because the process of Sometimes the most interesting thing in a Museum isn’t the art creating is extremely important. You have to MCASD: Do you intend to collaborate with on the walls—it’s who’s hanging it. continually challenge yourself. It’ll be similar to other artists who will eventually inhabit working in ICE, but the location is different. This the space? will be like our continuation in a new space. Lee: We’re not really collaborators, but some- Four young artists, formerly of the ICE Gallery Lee Lavy: The running thread between us is that times we do fight like brothers. It all comes in North Park, opened an exhibition in February we continually move from one project to the MCASD: Two members of the group, Thomas down to a shared work ethic and respect for at Bread & Salt, an abandoned yet serviceable next. We all have different relationships to art. and Lee, are currently preparators for MCASD. one another. 40,000 square foot warehouse built in 1891. I’ve been drawing since I was 4 or 5 years old - How have the things you’ve learned there Michael: We’re supportive in aspects like labor, The Logan Heights building, which housed the just sketching and making stuff. I figured no one changed your perspective about and relation- but it’s probably better to say that we help former Weber bakery, is being transformed into cared. I’d actually never shown any of my work ship to art? each other with execution and not aesthetics. a multi-purpose environment for community until I started working at Blick Art Supplies. Thomas: Getting this job was like a dream, and We’re all friends, and we try to help each other galleries, event spaces, and live-work artist Thomas DeMello: I’ve been an artist my whole I’d probably do it for free just because I love it achieve our goals. units by James Brown of Public Architecture. life. I used to turn in blank exams at school and so much. We’re always trying to find a way to Thomas: The goal is always to help someone Thomas DeMello, Lee Lavy, Joseph Huppert, call it art. This is really personal to me. I dream come together and connect with people about make it happen. If an opportunity to collaborate and Michael James Armstrong were offered about art, I love to talk about it, and I feel enliv- art on any level; people who are passionate comes along, we’ll really think about it. Mostly, the opportunity to use the space however they eved by the conversations we have at Café and creative. We’re always learning some- we all want to be on a course to see that work wished. All four artists have been preparators Bassam on Sundays. Everyone we meet there is thing new there, and we’re fortunate to meet gets finished.

(a.k.a. art handlers) at MCASD. The group’s so creative. L EE AVY (L E F T ), AN D TH OM A S M LLO ( RIGHT ). PH O OS: J EWE G OOD . amazing people like Bob Irwin. He and Joey unique approach to art has allowed them to fully exploit the potential of such a raw environment. MCASD: What factors have influenced your We sat down with the group to learn more about work for the current exhibition at Bread & Salt? their practice and their new digs. Thomas: I’m drawn to this idea of inhabiting an uninhabitable space and producing work that is MCASD: How would you describe your work, site-specific. In that way, Bread & Salt has the as a group or individually? same kind of origins as the ICE Gallery. We don’t Michael Armstrong: As a group, we’re all have an artist manifesto, we never put wall labels completely different. I don’t think we share on the art, and we never serve food or drinks at anything as far as aesthetics. At the moment, opening receptions. We just want people to go the focus is on site-conditioning/site-specific look at art for as long as they can stand it. installations where the site informs the work. Lee: That’s a quality not many places have. We also don’t want to be known as a gallery because there aren’t any objects or art to sell. 22 23 MEMBER-EXCLUSIVE EXPLORE

USE YOUR BENEFITS Looking for a different point of view? Membership bennies are so numerous it’s hard to keep track of them all. Here are a few high- Perspectives offers a new way to look at the A Curator’s Perspective lights designed to help you get the most from world. Using current exhibitions as a starting Led by an MCASD curator, this tour and conver- your MCASD membership. point, this recently reformulated series of sation invites visitors to ask questions and learn programs offers visitors direct access to artists, about exhibitions, artists’ processes, or partic- ALL MEMBERS RECEIVE a 10% discount at curators, and specialists in various fields of ular works of art. This program takes place soon the Museum Cafe and the X Store in La Jolla. knowledge. These participatory talks and tours after an exhibition opens and offers first-hand Use these to treat mom to a special Mother’s will inspire, engage, and challenge your way of knowledge about the installation and curatorial Day brunch or shopping trip next month. thinking. Don’t forget—Perspectives is always free process directly from the curator. for MCASD Members. Members at the Contributor level An Outside Perspective ($150) and above enjoy guest privileges, An Artist’s Perspective There are multiple entry points into the world allowing each Member to bring a guest every Meet the star of the show. Gain a deeper under- of contemporary art. The Outside Perspective time they visit. Members at this level also standing of works on view by hearing directly series invites visitors to explore issues emerging enjoy reciprocal admission to more than 450 from the artists themselves. Using a featured from exhibitions by hearing from a specialist in museums nationwide, including MOCA and the artist’s work as a launch pad to explore broad another field of knowledge: music, film, archi- Skirball Cultural Center in Los Angeles, the topics in contemporary art, this conversation tecture, and even science. de Young Museum in San Francisco, the Frick invites participants to be challenged and inspired. see calendar for a full list of programs. Collection and Museum of Arts and Design in Members Get Mod New York, and many more. In an effort to provide our Members with the best in service and benefits, we’re thrilled to Members at the Supporter level announce MCASD’s new partnership with Dwell ($600) and above enjoy a special reception magazine. As a benefit of your membership, with hosted cocktails and hors d’oeuvres before you will receive a complimentary one-year each exhibition opening celebration. subscription (ten issues, a $19.95 value) to the modern architecture and design magazine. Dwell Donor Circle Members ($1,500) and promotes idea-driven aesthetics in home design above receive an invitation to the annual with a focus on identity, creativity, and the Director’s Champagne Brunch with Hugh realization of a well-balanced life within a larger Davies. This year’s brunch will celebrate one of community. our fall/winter exhibitions. Dwell is a natural fit for MCASD’s thriving contemporary art community, and we are For a list of benefits at all levels, please pleased to offer this to Members at the Dual/ visit the Join/Give section of www.mcasd.org. Family level and above. Your first issue will arrive If you are interested in upgrading your within the next few months, and you’ll have the membership to take advantage of any of these opportunity to choose the digital edition if you benefits, please contact Membership Associate AN ARTIST’S PERSPECTIVE WITH prefer. Already a subscriber? No worries, your Anna-Leigh Zinza at [email protected] or victoria fu, CHITRA GANESH, AND subscription will be automatically extended. 858 454 3541 x172. SAYA WOOLFALK, featured in appRoximately INFINITE UNIVERSE SATURDAY, JUNE 8, 2013 > 1–3 PM > LA JOLLA AU (S TI LL), 2009. 16 mm colo r f i lm tran sf erre d A NTE AU VI C T O RIA F U , P ORTM t o d igita l pr oj e c ti n p u s tere so un 5: 15 loo p.

24 25 EXPLORE EXPLORE

CONTEMPORARY CAMPER Searching for the right summer camp? We’ve got you covered. Take it from Ruben—a former camper, 5th grade art lover, and regular Museum patron.

MCASD: What was the best part of summer camp at MCASD? Ruben: It helped me learn about the art and understand it more… it showed me new techniques and helped me perfect my artwork. READY FOR CAMP? MCASD: Did your opinion of visiting MCASD change Sign up now for one of two week-long camp sessions after you participated in summer camp? for different age groups. Ruben: Yes, because I got to know some of the staff. They recommended some good art pieces to see and why I would like it. This made me more interested in art. SESSION 1 MORNING SESSION

Camp for 7- to 9-year-old children 9 AM–12 PM > Sculpture Challenge! MCASD: What other events do you like at MCASD > Monday, July 22–Friday, July 26 and why? AFTERNOON SESSION Ruben: My favorite event was the TNT when they SESSION 2 1–4 PM > Mixed Media Marathon designed your hair. I had a huge mohawk! Camp for 10- to 12-year-old children FULL DAY > Monday, July 29–Friday, August 2 MCASD: What do you enjoy most about 9 AM–4 PM > Participate in both visiting MCASD? PRICING FOR ONE WEEK sessions for a full-day experience, Ruben: I go to the Museum to see all the different Half-day camp: MemberS $85; Non-members $190 including supervised brown bag styles of art and the artists they have on view. Full-day camp: MemberS $140; Non-Members $380 lunch hour. MCASD: How does learning about art help you? Ruben: Well, from a young age I loved to draw, and where I used to live there were a lot of museums and they always inspired me to try new things. Camp is held at our seaside La Jolla location, where campers will explore the entire MCASD campus, including the galleries and our oceanfront Sculpture Garden (PICTURED HERE). Campers MCASD: Why do you think art is important? will learn about artwork featured in our exhibitions from Ruben: Because you can express your feelings and teaching artist Nuvia Ruland and MCASD Education staff, create artwork in a variety of mediums, and learn about contemporary put your energy in the art—the art will have definition artists’ practices. depending on your emotions!

27 ART ON THE ROAD VIJA CELMINS THE X STORE

JENNIFER STEINKAMP

> MATCHSTICK NECKLACE BY KIEL MEAD Regular $85 / Members $76.50

KEITH HARING

> YELLOW BANANA BOWL BY HARRY ALLEN Regular $140 / Members $126

JOHN MCCRACKEN

DANIEL RUANOVA (MeXICO) LLYN FOULKES That’s so > FLAT LIFE LIGHT BY Finn Magee Lifelike(able)! Regular $150 / Members $135 . in c he s . 2 / 1 The artists of Lifelike aren’t MCASD’s COLLECTION GETS AROUND the only ones inspired by

Between The Very Large Array and Behold, America!, we have recently had hundreds of works commonplace objects. These of art from our permanent collection displayed in San Diego. But did you know that objects from designers have a knack for our collection are also on view across the country? Last fall our Keith Haring portrait of Elvis Presley was on display at the Metropolitan Museum making functional objects in of Art. That show, Regarding Warhol, has closed in New York but is on view in Pittsburgh at unusual forms or materials The Warhol Museum until April 28. If you find yourself in Omaha, you’ll recognize Jennifer that have an uncanny likeness Steinkamp’s Madame Curie at the Joslyn Art Museum through May 12. On your next visit to L.A., you may see some familiar sights: four of our works by funk artist to something familiar, but s u m i in k an d g old paint o n El vi p os ter, 38 x 26 Llyn Foulkes will be on view at the Hammer Museum through May 19, and John McCracken’s are used in unexpected ways. black plank is on loan to LACMA through June 30 for their Stanley Kubrick exhibition. Works have even ventured south of the border: Daniel Ruanova’s NOW PL@YIN is currently They’re a little surreal and at MACRO in Monterrey, Mexico through April 12. n. d ., vi s Presley whole a lot of fun. And, finally, Eggs by Vija Celmins recently traveled to Minneapolis and New Orleans, and returned to us last month for the opening of Lifelike, the highly acclaimed exhibition organized PURCHASE THESE PRODUCTS IN THE X STORE IN aring C oll e c ti o n Mu s eu m of nte p rary A rt San Dieg , G i f t Lannan F un d ati n. Keith H aring artw o r k © Keith H aring F un d ati n. P h t : a blo Ma so by the Walker Art Center. Keith H aring, E l LA JOLLA OR ONLINE AT MCASD.ORG/STORE.

28 29 THANK YOU TO OUR DONORS VIEW APRIL—JULY 2013

MCASD Board of Trustees 2012–2013 Colette Carson Royston, President 21ST CENTURY RON ROBERTS Cathy and Ron Busick Elizabeth and Joseph Taft John Hammer In-Kind Support Barbara Arledge CAMPAIGN DONORS DANAH H. FAYMAN Colette Carson and The John M. and Sally B. Thornton Chris and Eloisa Haudenschild Linnea Arrington DAVID GUSS FAMILY Dr. Ivor Royston Foundation Betty R. Hiller $25,000–$49,999 Melissa Garfield Bartell FOUNDERS JUDITH C. HARRIS AND Robert Caplan and Nancy B. Tieken Mr. and Mrs. Robert Hoehn KSON Dr. Mary F. Berglund $3,000,000 AND ABOVE ROBERT SINGER, M.D. Dr. Carol Randolph Jen Tuomi and Mark MacEwen Monique Konovalor The San Diego Union-Tribune Barbara Bloom JOAN AND IRWIN JACOBS THE JAMES IRVINE FOUNDATION Linda Chester and Kim and Erik Tyrell-Knott Kelly Larrabee Wendy H. Brody DAVID C. COPLEY IN MEMORY OF IRENE R. Dr. Kenneth Rind Dr. Emad and Mrs. May Zawaideh Margery Mico $10,000–$24,999 Nancy Browar CAROLYN P. FARRIS JELLINEK Dr. Charles G. Cochrane and Helene and Allan Ziman Susan and Charles Muha Campine Catering Ronald L. Busick CATELLUS, A PROLOGIS ARTHUR AND SANDRA LEVINSON Monica H. Cochrane Emma & Leo Zuckerman Brian and Paula Powers Roppongi Catering Dr. Charles G. Cochrane COMPANY MARY KEOUGH LYMAN Anonymous Fund at the San Diego Dr. and Mrs. Robert Preisman 91X Valerie Cooper JOSEPHINE R. MACCONNELL Foundation Paul and Barbara Quinn Ranch and Coast Magazine Isabel Coppel DISTINGUISHED BENEFACTORS PATSY AND DAVID MARINO Judge Jonathan T. Colby $1,500–$4,999 Marilyn L. and James A. Reiter Riviera Magazine Dr. Peter C. Farrell $1,000,000–$2,999,999 AMELIA AND KENNETH MORRIS Renée Comeau and Terry Gulden Joan and Jeremy Berg G & J Reynolds Carolyn P. Farris THE ANNENBERG FOUNDATION THE PARKER FOUNDATION Valerie and Harry Cooper Mr. and Mrs. Aldis J. Browne Mark Robillard and Diana Neff $5,000–$9,999 Pauline Foster SUE K. AND DR. CHARLES C. FRITZ AND NORA SARGENT Courtney Ann Coyle, Esq. and Mary E. Collins Ursula Sasso Authentic Flavors John Ippolito EDWARDS SELTZER CAPLAN MCMAHON Steven P. McDonald, Esq. Ovie Cowling and Danny Kelly Jordan D. Schnitzer Crown Point Catering Margaret A. Jackson DR. PETER C. FARRELL VITEK Mrs. Sue K. Edwards Luis De Jesus Jacquelyn and Robert Slotkin Elegant Events Catering Co. Dr. Paul Jacobs THE ALBATROSS FOUNDATION IN MEMORY OF DOROTHY Olivia and Peter Farrell Rachel and Spencer Douglass Ronald Stevenson The French Gourmet Vekeno Kennedy MARY AND JAMES BERGLUND MITCHELL SHAPIRO Helene and George Gould Rocio and Michael Flynn Daniel W. Vecchitto Giuseppe Fine Catering Sami Ladeki JAKE AND J. TODD FIGI JOYCE AND TED STRAUSS Anonymous Inge Johansen and Robert Gagnon Ron Wakefield Hyatt Regency La Jolla at Sonia Mandelbaum PAULINE AND STANLEY FOSTER JOHN M. AND SALLY B. Margaret Jackson and Jennifer and Richard Greenfield Caitlin Wege Aventine Holly McGrath RUTH AND MURRAY A. GRIBIN THORNTON FOUNDATION Neil Hadfield Michael Krichman Rolfe Wyer and Doris Sosin Lawrance Furniture Mason Phelps STEPHEN WARREN MILES UBS Debby and Hal Jacobs Dennis Kern Mr. and Mrs. Howard Zatkin Peartrees Catering, Inc. Dr. Carol Randolph AND MARILYN ROSS MILES GILDA AND VICTOR VILAPLANA Sheri and Dr. Stuart Jamieson Lewis and Marnie Klein Stone Brewing Company Nora D. Sargent FOUNDATION JO AND HOWARD WEINER Sharon and Sami Ladeki Gary Koerper and Tiffany Archer Tapenade Gad Shaanan KATHERINE AND MANSFIELD MILLS Garna G. Muller Dr. and Mrs. James E. Lasry Corporate, Foundation, and Waters Fine Catering Joyce Strauss MARYANNE AND IRWIN PFISTER Catherine and Bob Palmer James Levine Government Donors Matthew C. Strauss DR. AND MRS. KURT E. SHULER MCASD ANNUAL FUND DONORS Robin and Gerald Parsky Ken Little Sheryl White IRIS AND MATTHEW STRAUSS James K. Robbins Jennifer Luce $100,000 and Above Brent V. Woods INDIVIDUAL DONORS Nora and Fritz Sargent Catherina and Michael Madani Qualcomm Foundation Sue K. Edwards, Honorary Trustee PATRONS $100,000 and above Dr. Marie Tartar and Dr. Steve Liz and Chris McCullah Danah Fayman, Honorary Trustee $500,000–$999,999 Anonymous Eilenberg Elspeth and Jim Myer $50,000–$99,999 David C. Copley, In Memoriam COLETTE CARSON ROYSTON AND Carolyn P. Farris Erika and Dr. Fred Torri Mr. and Mrs. Phil Napierskie The Andy Warhol Foundation for DR. IVOR ROYSTON Pauline Foster Rosalie and William O’Brien the Visual Arts Dr. Hugh M. Davies, The David C. DRS. STACY AND PAUL JACOBS Faye Hunter $5,000–$9,999 Viviana and Charles Polinsky Christie’s Copley Director and CEO THE KRESGE FOUNDATION Joan and Irwin Jacobs Anonymous Randy S. Robbins City of San Diego Commission for HELEN K. COPLEY Drs. Stacy and Paul Jacobs Rusti Bartell Dr. and Mrs. Thomas J. Sergott Arts and Culture Editor-in-Chief: Rebecca Handelsman JAMES S. COPLEY FOUNDATION The Mark & Hilarie Moore Shannon Bartlett Elene and Herbert Solomon County of San Diego Managing Editor: Leah Masterson ROBERT AND LOUISE HARPER Family Trust Viveca Bissonnette and The Dillon Fund Design Director: Ursula Rothfuss NATIONAL ENDOWMENT Maryanne and Irwin Pfister Jeff Hollander Scott White $25,000–$49,999 Designer: Kasey Reis FOR THE HUMANITIES Carolin Botzenhardt Lisa and Corey Wilson-Wirth National Endowment for the Arts Contributors: Heather Cook, ELIZABETH AND MASON PHELPS $50,000–$99,999 Ralph and Gail Bryan Lorna York Northern Trust Jill Dawsey, Kate Deuparo, Karen Fox Mrs. Lee Clark and April Farrell, Jewel Goode, BENEFACTORS Iris and Matthew Strauss Jerry Pikolysky D.D.S. $600–$1,499 $10,000–$24,999 Elizabeth Harker, Kathryn Kanjo, $250,000–$499,999 The Sheryl and Harvey White Trulette Clayes and Jeff Partrick Michael Albo Cooley LLP Anne Kindseth, Edie Nehls, Robert BETLACH FAMILY FOUNDATION Foundation Dr. and Mrs. William T. Comer Fay P. Bullitt LLWW Foundation Pincus, Cris Scorza, Jenna Siman, NATIONAL ENDOWMENT FOR Dan and Phyllis Epstein Malgorzata and Ray Freiwirth Mandell Weiss Charitable Trust Shannel Smith, Anna-Leigh Zinza THE ARTS $25,000–$49,999 Lisette and Michael Farrell Robin J. Lipman Nordstrom ROBIN AND GERALD PARSKY Barbara and Charles Arledge Susanna and Michael Flaster David and Katherine Overskei The ResMed Foundation The Museum of Contemporary Art QUALCOMM Mary and James Berglund Pauline Foster The San Diego Foundation San Diego, founded in 1941, is SHERYL AND HARVEY WHITE Barbara Bloom Fund Eric S. Fuller $300–$599 Ermenegildo Zegna Corporation a Member-supported, private, Matt and Nancy Browar Audrey S. Geisel/Dr. Seuss Fund Betty Amber nonprofit organization dedicated CONTRIBUTORS Holly McGrath Bruce and Leon and Sofia Kassel Mr. and Mrs. John E. Barbey, Jr. $5,000–$9,999 to the collection, exhibition, and $100,000–$249,999 David Bruce Vekeno Kennedy Chris S. Bertics and KPMG LLP interpretation of contemporary BARBARA AND CHARLES Donald and Karen Cohn Lynda and Richard Kerr Lynda Kay Chandler Seltzer Caplan McMahon Vitek art. MCASD, accredited by the ARLEDGE Jeanne Jones and Dr. Warren and Karen Kessler Lacey and Blayney Colmore Association of Museums, is one LINNEA AND FRANK ARRINGTON Don Breitenberg Gail and George Knox Anne C. and Robert W. Conn $1,000–$4,999 museum with two locations: BARBARA BLOOM FUND Elizabeth and Mason Phelps Fraeda and Bill Kopman Patti and Coop Cooprider GUCCI La Jolla and downtown San Diego. NANCY AND MATT BROWAR Suzan and Gad Shaanan Tami and Michael Lang Margaret McKeown and The Arts Federation All programs and activities are DIANE AND CHRISTOPHER Joyce and Ted Strauss Leanne Hull MacDougall Peter Cowhey The Cynthia and George Mitchell made possible by generous CALKINS Patsy and David Marino Courtney Ann Coyle, Esq. and Foundation contributions from MCASD DR. CHARLES G. AND $10,000–$24,999 Ron and Lucille Neeley Steven P. McDonald, Esq. The La Jolla Community At the $1,500 level and above, current donors are listed Members and many individuals, MONICA H. COCHRANE Lisa and Steve Altman Scott H. Peters and Sarah and Earl Feldman Foundation quarterly for the period of one year. At the $300–$1,499 level, foundations, corporations, and COUNTY OF SAN DIEGO, Frank and Linnea Arrington Lynn E. Gorguze Beverly and Richard Fink Target Corporation current donors are listed once, in the quarter following the government agencies. 3RD DISTRICT SUPERVISOR Melissa Garfield Bartell Cele and Justin Renaudin Kathryn Goetz date of the gift to MCASD.

PAM SLATER-PRICE and Michael Bartell Steven M. Strauss and Igor and JoAnn Grant $300–$599 We’ve made every effort to be accurate. This list is current as of Institutional support for MCASD is COUNTY OF SAN DIEGO, Barbara Bloom Fund Lise N. Wilson Karan Greenwald and JPMorgan Chase 3/12/13. Please call 858 454 3541 x172 if you should find an error, provided by the City of San Diego 4TH DISTRICT SUPERVISOR Wendy and Bill Brody Donald and Linda Swortwood Bennett Greenwald or if you have other inquiries about Membership. Commission for Arts and Culture.

30 31 Non-profit Organization 700 Prospect St. La Jolla, CA 92037-4291 U.S. Postage PAID Permit Number 3426 change service requested San Diego, California