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APRIL—JuLy 2013 1 2 Cochrane Universe Infinite Approximately and meta-histories,amongothers. weightlessness, reproductivetechnologies, utopiaanddystopia,citiesofthefuture, ments, exploringideassurrounding aliensandothers,bodilymutations,disorientation realities inwhichhistoricalandfictionalfiguresinteract. categories, imaginenewanddifferentsetsofsocialsexual relations,andtocreatealternative (such asthatofwriters Universe Infinite mately proposal bypresidentialprimarycandidate the recentdevelopmentofcommercialspacecraftandprivatized spaceexploration,orlastyear’s might betoseeitaspartofalargerescapistimpulseinthetwenty-first centuryzeitgeist:consider frequency incontemporaryartandthebroaderculture.One waytounderstandthisphenomenon the effectofgaininginsightintoourcomplicatedpresent. and forwardthroughtime.Suchworkrevisionsfraughthistoriesenvisionsutopianfutures,with stand artasavehiclefortimetravel,employinganarrayofmediumsmeanstomovebackward to makedistinctionsbetweenselfandother,humanalien. tion ofotherpossibleworlds,itsdislocationspatialandtemporaltrajectories,challenges Universe Infinite Approximately On view6/8/13thr A experiments inimagination.” for whatourlanguagehasnowordsasyet, reversals ofahabitualwaythinking,metaphors i “One oftheessentialfunctionssciencefiction, think, is precisely this kind of question-asking: think,ispreciselythiskindofquestion-asking: Approximately Infinite Universe Infinite Approximately r r PPR ather thansimplyreferencingthemotifsandrhetoricofspace travel,theartistsin ecently, allusionstospacetravelanddepictionsofthecosmos haveappearedwithincreasing e xhibition Fund. e ox X hi B iti I i nstitutional supportfor MC m O O isorganizedbytheMuseum ofContemporary n A ugh 9/1/13>LaJ u employideasandmetaphorsassociatedwithexperimentalscience fiction S L rsula K.Le te a JOLL L isanexhibitionlooselyinspiredbysciencefiction,withitsexplora y Inf isanexhibitionfeaturingcontemporary artisticthoughtexperi g uin, Octavia a a SD isprovided,inpart, bytheCityofSanDiegoCommissionfor OLL n I ewt — n a a uR I g su e te ingrich foracolonyonthemoon. Bulter,andSamuel LA K.LeGu a rt San Diego and is made possible by a generous gift from the rt SanDiegoandismade possiblebyagenerousgiftfromthe u n t I I n he artistsintheexhibitionunder ve R r . Delany)torethinkcultural se a a fro-futurism, rts andCulture. Approxi- - - - FrOnt COver: Chitra ganeSh, the fUtUre Is the PAst (DetaiL), 2011, Site-SpeCiFiC waLL wOrK CreateD On CanvaS, 9 X 18 Feet, three paneLS. ShOwn at nature MOrte BerLin anD gOthenBurg KunSthaLLe. COurteSy OF the artiSt. BaCK COver: DeSirée hOLMan, mIlky WAy, 2012, aCryLiC, waterCOLOr, COLOreD penCiL On paper, 22 X 30 in. COurteSy OF the artiSt anD JeSSiCa SiLverMan gaLLery, San FranCiSCO. Saya wOOLFaLK, PAges from the book empathetIc PlAnt Alchemy: neUrologIcAl BalAnce of florAl And hUmAn energy, 2011, gOuaChe On paper. COurteSy OF MargO anD FranK waLter. © Saya wOOLFaLK. 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 . n weiwei, and others. the exhibition is accompanied by a 200-page full color publication with essays SO a by Siri engberg, Michael Lobel, rochelle Steiner, and artist Josiah Mcelheny. BLO M pa lifelike is organized by the walker art Center and made possible by generous support from John L. thomson and the andy warhol Foundation OS: t for the visual arts. additional funding for the San Diego presentation has been provided by a grant from the resMed Foundation. institutional O ph 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 . n 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. SO a Fredman’s mid-1970s works of fleece and sand on canvas, the exhibition considers questions of BLO M process and materiality in the work of two distinctive San Diego artists. scoli Acosta: elementAlISTHMUs is organized by the Museum of Contemporary art pa San Diego with the support of Dar al-Ma’mûn international residency Center for artists. OS: institutional support for MCaSD is provided, in part, by the City of San Diego Commission t the Very large Array: san diego/tijuana Artists in the mcA collection is organized by the Museum of Contemporary art San Diego. O for arts and Culture. ph 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 a in 2010. fRom tHe CoLLeCtIon: WoRK of tHe 1970s C does in gathered (one million), pictured here. ri aF MCaSD will debut color field, Lou’s newest, large- On view thrOugh 6/23/13 > DOwntOwn uth O scale sculpture, measuring more than 20 feet by 20 this selection of artworks, primarily from the 1970s, highlights objects from the Museum’s collection an, S feet. Composed of thirty-two shades of colored beads B 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 in Dur abstract painting will become an unlikely garden on the on) ways. By revealing the act of making, these artists correlate studio practice with experimentation and I ll I gallery floor around which visitors can walk: a shimmering an expression of time. ne m moiré of color in the light-filled space. color field was o 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 ther ( minimalism and the familiar imagery of pop art, two impulses which dominated the previous decade’s . n Ga MCaSD, where teams of volunteers will aid in the work’s n SO O art. in these works, the modernist grid of stability is handmade and irregular, and artists allow for a installation over a two-week period. KS allusions to the land, the cosmos, and the body. r O BLO M pa u w liza lou: color field is organized by the Museum of Contemporary art San Diego. O O: 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 t institutional support for MCaSD is provided, in part, by the City of San Diego O from Barbara Bloom. institutional support for MCaSD is provided, in part, by the City of San Diego Commission for arts and Culture. ph Liza L 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
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