Principal by San Francisco Art Institute

SAN FRANCISCO ART INSTITUTE GRADUATE PROGRAMS 2014 © 2014 San Francisco Art Institute San Francisco, CA 94133 All rights reserved. No part of this book may be reproduced without the written permission of the publisher. ISBN 978-0-930495-04-6 Charles Desmarais, President Rachel Schreiber, Dean and Vice President for Academic Affairs Hesse McGraw, Vice President for Exhibitions and Public Programs Janette Andrawes, Director of Marketing and Institutional Messaging Cynthia Perry Colebrook, Vice President for Institutional Advancement Elizabeth O’Brien, Vice President for Enrollment Espi Sanjana, Chief Operating Officer

Claire Daigle, Chair, Master of Arts Department Tony Labat, Chair, Master of Fine Arts Department Claire Daigle and Allan deSouza, Co-Directors of Low-Residency Graduate Programs, 2011–2013 Aziz + Cucher, Guest Faculty and Artists in Residence, Low-Residency Master of Fine Arts in Studio Art, 2014 Zeina Barakeh, Director of Graduate Administration Michelle Ramin, Interim Manager of Graduate Administration Milton Freitas Gouveia, Graduate Studio Operations Manager Kedar Lawrence, Graduate Studio Evening Coordinator

Admissions 415.749.4500 admissions@sfai.edu

SFAI.EDU

CONTENTS Message from President Charles Desmarais

Message from Dean and Vice President for Academic Affairs Rachel Schreiber

SFAI Past, Present, Future

Graduate Programs

MASTER OF FINE ARTS / ARTIST PAGES KEEP YOUR FORK Tony Labat, Chair, Master of Fine Arts Department

Graduating MFA Artists

MASTER OF ARTS / THESIS PROJECTS A CHROMOPHILIAC'S SEND-OFF Claire Daigle, Chair, Master of Arts Department

Graduating MA Scholars

MA Collaborative Project

109

SELECTED PROJECTS Local Projects and Exhibitions

114

Collaborations

124

Off-Site Projects

128

ON-CAMPUS EXHIBITIONS AND EVENTS SFAI Concentrate

132

Swell Gallery

134

Diego Rivera Gallery

136

Walter and McBean Galleries

140

Lecture Series

142

Graduate Faculty

144

Board of Trustees and Presidentâ&#x20AC;&#x2122;s Cabinet

152

Acknowledgments

153

MESSAGE FROM PRESIDENT CHARLES DESMARAIS A beloved story from San Francisco Art

The impact of money on artistic culture

Institute history comes from 1949, when

has been very much on the minds of San

Marcel Duchamp visited the institution (then

Franciscans of late. In a city awash in tech

called the California School of Fine Arts)

dollars yet struggling to house its citizens,

as part of the seminal Western Roundtable

living an artistic life can be difficult. SFAI is

on Modern Art. As told by SFAI archivist

committed to helping its artists launch pro-

Jeff Gunderson, Duchamp was walking

fessional careers, and this capstone exhibition

through the studios with then-Director

regularly results in gallery representation,

Douglas G. MacAgy and approached an artist

new collectors, or invitations to show nation-

at work. “What are you doing?” he asked.

wide. But equally as important, the Institute

“I don’t know,” the student replied. Said

is proud to support cultural producers whose

Duchamp: “Keep up the good work!”

ambitions and values defy narrow definitions of utility, or market-driven measures of worth.

Experimentation and risk-taking have long

SFAI educates artists for a full range of pos-

been hallmarks of SFAI artists, and have

sible or improbable practices. It is precisely

helped make the Institute one of the principal

at challenging times that the world needs

forces in contemporary culture for well over

beauty and creativity and open discourse;

a century. This high risk tolerance—as key a

that it demands unconventional problem

strategy for artists as for investors—and its

solving based on curiosity, collaboration, and

diverse, provocative results are spectacularly

profound respect for humanity.

showcased in Principal, an exhibition and this accompanying catalogue featuring more than

Through their time at the Institute, the artists

80 graduating MFA artists and MA scholars.

and scholars featured in these pages and at the Old Mint have made a principal invest-

For Principal, the Institute returns to

ment in their education. Now, this experi-

the Old Mint. The economic history and

ence—the training, the relationships, the ways

monumental architecture of this National

of thinking and making, the endless inquiry—

Historic Landmark in the heart of the city

will surely enrich their lives, and the world in

have proved inspirational to SFAI artists.

which we all live, for years to come.

Last year, one artist spent the span of the exhibition filling a brick vault with an

So to our new graduates: Congratulations on

installation of “gold” bars 3D-printed on

your accomplishment. And, in the adventures

site and stamped with his personal insignia.

ahead, may you never fear the unknown.

This year’s artists are equally adept at navigating—or critiquing—many facets of contemporary artistic production: the quest for originality and innovation; the interplay between the digital and the analogue; the relationship between artist and audience; and the central but often uncomfortable role of the market in the (so-called) Art World.

SFAIâ&#x20AC;&#x2122;s historic tower Photographed by Trevor Hacker

SFAIâ&#x20AC;&#x2122;s Chestnut Street Campus Photographed by Joshua Band

MESSAGE FROM DEAN AND VICE PRESIDENT FOR ACADEMIC AFFAIRS RACHEL SCHREIBER Principal documents the work of SFAI

clearly become if not a prerequisite at least

graduate students at the culmination of their

a major advantage in the pursuit of the

studies. These students matriculated into

range of opportunities our graduates will

the programs at SFAI not long ago, ready

seek. Indeed, the hypercompetitiveness of

to expand their practices and explore new

the market for academic and administrative

ideas and approaches; they now commence

jobs in the arts, as well as exhibition, grant,

their careers as professional artists and

and residency opportunities, regularly

scholars. “Professionalization” is the hallmark

necessitates institutional validation.

of the graduate degree, the characteristic that distinguishes it from the undergraduate

While training to achieve these tangible goals

degree on the one hand, and from vocational

certainly could be said to constitute profes-

or technical training on the other. But what

sionalization, I’d like to suggest a different

does it mean to be a professional artist

view. Too often, we simply equate profession-

or scholar?

alism with a quantitative measure of earning power. Rather than focus on the advanced

Howard Singerman offers an eloquent history

degree simply as a professional credentialing

of the MFA degree in his book Art Subjects:

document in this sense, I offer a return to the

Making Artists in the American University, and

Latin verb “to profess,” the root of which is

focuses on the question of professionaliza-

to make a public declaration. Cultural produc-

tion. As Singerman points out, “the label pro-

tion is a form of expression. An expression

fessional does not easily correspond to our

is only complete when it is heard, seen, read,

image of the artist. [Rather,] the idea of the

or otherwise experienced. Through exhibition,

‘artist born’ runs long and deep.” A number

publication, or other forms of display, artists

of contemporary scholars continue to argue

and scholars pronounce their ideas to

that art cannot be taught. Still others (and I

an audience.

count myself in this camp) find the notion of “innate talent” to be a thinly veiled guise for

As readers and viewers will quite clearly see

an elitist and exclusionary approach to what

in the pages of this catalogue, our graduating

art is, and to who might be artists. Within

students have honed their skills of public dec-

a more expansive view, a professional degree

laration. Artistic expression may be political,

in art becomes meaningful as a way to

social, abstract, representational, conceptual,

empower a broad range of artists and

formal, intellectual, poetic, open, guarded, all

scholars to participate in the field of cultural

of these, or something else entirely. In short,

production. Yet we still must ask, what are

its forms are diverse. Regardless of the form,

the aims of this professional degree?

the artists and scholars whose work is represented here demonstrate the intentionality

Singerman goes on to illuminate the devel-

of their expression and their ability to put

opmental trajectory of the MFA in the post–

their innovative, creative, critical ideas into

World War II period, which has increasingly

their work. It is in this sense that they are

insisted on the value of instructing students

truly professionals.

in the discourses surrounding the history, theory, criticism, and production of contemporary art. Moreover, advanced degrees have

1938 1871 SAN FRANCISCO ART ASSOCIATION (SFAA) is founded, open to artists for monthly dues of $1.

1931

Alumnus HENRY KIYAMA publishes The Four Immigrants Manga, the first graphic novel published in the US.

1945

1885

A group of women artists—in response to the men-only Spring Shows sponsored annually by SFAA — hold the FIRST WOMEN-ONLY EXHIBITION.

The school moves to its current campus at 800 CHESTNUT STREET in a new building designed by Bakewell and Brown, architects of City Hall and Coit Tower.

1927

is at the forefront of contempo-

Alumnus Gutzon Borglum begins work on his very large-scale public sculpture, Mount Rushmore.

rary practice in the visual arts. Encompassing some of the most significant art movements of the last century, the Institute

1945

1925

has historically embodied

Alumnus REA IRVIN, the first art editor of The New Yorker, designs the magazine’s now-iconic typeface and creates the character Eustace Tilley, who graces the cover of the first issue.

a spirit of experimentation, risk-taking, creativity, and innovation. With an ever-expanding roster of esteemed faculty and alumni, robust Exhibitions and

1931

Public Programs, and a mission

Mexican muralist DIEGO RIVERA paints The Making of a Fresco Showing the Building of a City in the school’s gallery.

dedicated to the intrinsic value of art and its vital role in shaping and enriching society and the individual, century of creative excellence.

ANSEL ADAMS founds the FIRST FINE ART PHOTOGRAPHY DEPARTMENT. Faculty include Dorothea Lange, Imogen Cunningham, Minor White, Edward Weston, and Lisette Model.

1926

San Francisco Art Institute

SFAI is poised for another

Alumna LOUISE DAHL-WOLFE’s photos help define a new American style of fashion photography. She works for Harper’s Bazaar from 1938–1958.

1880

The first public showing of a moving picture occurs at SFAA with EADWEARD MUYBRIDGE’s presentation of his Zoopraxiscope.

DOUGLAS G. MACAGY becomes director. He hires Clyfford Still, Hassel Smith, David Park, Elmer Bischoff, and Richard Diebenkorn, and invites New York artists Mark Rothko and Ad Reinhardt to teach summer sessions, making the school a hub for ABSTRACT EXPRESSIONISM.

1942

The War Relocation Authority hires faculty member DOROTHEA LANGE to document the internment of Japanese Americans. The photographs are confiscated and do not appear until 2006 when Impounded is published by W.W. Norton.

1947

1966

SIDNEY PETERSON teaches the first film course at the school.

Sculptor and conceptual artist BRUCE NAUMAN begins teaching at SFAI.

1970

ANNIE LEIBOVITZ begins photographing for Rolling Stone magazine while still a student. She becomes the magazine’s official photographer in 1973.

1956

William T. Wiley, Robert Hudson, and William Allen arrive. Along with other students— M anuel Neri, Bill Brown, Arlo Acton, Joan Brown, Alvin Light, Bill Geis, and Carlos Villa— they become the core of the BAY AREA FUNK art movement.

1976

Activist, philosopher, and writer ANGELA DAVIS joins the faculty to teach aesthetics.

1968 1952

Faculty member MINOR WHITE becomes the first editor of Aperture magazine, with faculty member DOROTHEA LANGE’s work featured on the first cover.

Alumni RUTH-MARION BARUCH and PIRKLE JONES document the early days of the Black Panther Party in Northern California; the photographs are exhibited at the de Young Museum.

1977 1969

SFAI expands with a new addition by PAFFARD KEATINGE-CLAY.

1961 The school is renamed SAN FRANCISCO ART INSTITUTE (SFAI), expanding the definition of art to include performance, conceptual art, graphic arts, and social documentary.

1968

Student PAUL McCARTHY begins work on a series of performances called Instructions.

1969

JAY DeFEO’s painting The Rose is installed at SFAI where it remains until the Whitney Museum of American Art acquires it in 1995. During the 26 years that it was on campus, students were known to leave roses on the work in homage to DeFeo.

1955

ALLEN GINSBERG gives the first public reading of HOWL at an art space founded by alumni, Six Gallery, during alumnus and faculty member Fred Martin’s exhibition Crate Sculptures.

1949

DIrector DOUGLAS G. MACAGY organizes THE WESTERN ROUNDTABLE ON MODERN ART, with MARCEL DUCHAMP, FRANK LLOYD WRIGHT, and GREGORY BATESON, among others. The objective of the roundtable is to “EXPOSE HIDDEN ASSUMPTIONS” and to FRAME NEW QUESTIONS ABOUT ART.

Alumna MOLLIE KATZEN illustrates and publishes the vegetarian Moosewood Cookbook. The cookbook becomes one of the top 10 bestselling cookbooks of all time.

1966

Abstract painter SAM TCHAKALIAN joins the faculty and is a major force in the Painting department for the next 35 years. Among many others, he mentored alumna KATHRYN BIGELOW (Academy Award–winning director of The Hurt Locker), who credits him with her early success as a painter in New York.

1977

Alumnus DON ED HARDY opens Tattoo City in San Francisco’s Mission District, pioneering the style of fine-line black and grey tattoos.

1978

1998

SFAI is at the center of the Punk music scene, with students FREDDY (A.K.A. FRITZ) of the Mutants, PENELOPE HOUSTON of the Avengers, and DEBORA IYALL and FRANK ZINCAVAGE of Romeo Void.

DEVENDRA BANHART enrolls at SFAI and starts writing songs in BILL BERKSON’s poetry class.

1982

SFAI makes a video featuring Saturday Night Live satirical character FATHER GUIDO SARDUCCI (played by Don Novello).

2000

PETER PAU, film alumnus, receives an Academy Award for Cinematography for Crouching Tiger, Hidden Dragon.

1990

The performance work of alumna KAREN FINLEY sparks national debate (and a Supreme Court trial) when a grant recommended by the National Endowment for the Arts is vetoed by the NEA Chairman.

2003

MacArthur “genius” Awards in the visual arts are granted to alumnae TOBA KHEDOORI and LIZA LOU.

1990

An anonymous artist in the early 1980s alters the Diego Rivera mural at SFAI by adding a hammer and sickle to a medallion on a central figure. Legend has it that the artist sought to underscore Rivera’s Communist politics. In 1990, the alteration/ defacement was discovered, and conservators were brought in—they removed what turned out to be toothpaste.

1981

Alumna BETSY SUSSLER founds Bomb magazine in New York.

2003

Everything Matters, a retrospective of the work of faculty member PAUL KOS, opens at the Berkeley Art Museum.

2003

Alumnus LANCE ACORD is the cinematographer for Sophia Coppola’s LOST IN TRANSLATION.

1992

THE CLARION ALLEY MURAL PROJECT (CAMP) is established by a volunteer collective of six Mission residents, including alumni AARON NOBLE and RIGO23. Clarion Alley becomes a key site for the development of the aesthetic known as the Mission School.

2002

Students Mitch Temple, Dennis McNulty, and Nathan Suter form ROOT DIVISION— a community art collective dedicated to art education.

2006

Alumnus MANUEL NERI receives the International Sculpture Center’s Lifetime Achievement Award.

2011 SFAI celebrates 140 years of cultural innovation.

2010

2014

The Walter and McBean Galleries exhibition Francis Cape: Utopian Benches continues SFAI’s legacy of creating space for dialogue and exchange by offering shared seating on 17 poplar benches replicated from those in use by utopian communities.

2012

Alumna KATHRYN BIGELOW wins the Academy Award for Best Director for her film The Hurt Locker.

Alumna ANNIE LEIBOVITZ’s exhibition Pilgrimage opens at the Smithsonian American Art Museum.

2010

SFAI faculty member and Cuban ex-patriot TONY LABAT returns to Havana for a one-person exhibition at the Wifredo Lam Center. IT IS THE FIRST TIME HIS WORK IS SHOWN IN CUBA.

2007

A retrospective exhibition, HENRY WESSEL: Photographs, at SFMOMA honors the longtime faculty member.

2007

2013

City Studio, SFAI’s year-round program for underserved youth, receives an NEA award.

The Walter and McBean Galleries debuts the exhibition ENERGY THAT IS ALL AROUND, featuring SFAI alumni BARRY McGEE, RUBY NERI, and ALICIA McCARTHY, along with Mission School artists CHRIS JOHANSON and MARGARET KILGALLEN. The exhibition travels to NYU in 2014.

2010

The Berkeley Art Museum and Pacific Film Archive presents Radical Light: Alternative Film and Video in the San Francisco Bay Area, 1945–2000, which documents the history of SFAI’s Film and New Genres programs and features dozens of alumni and faculty, including Bruce Connor, Stan Brakhage, Robert Nelson, James Broughton, Sidney Peterson, Anne McGuire, George Kuchar, Jay Rosenblatt, and Craig Baldwin.

2009

Alumna JENNIFER M. KROOT releases the documentary, It Came From Kuchar, about the life and work of longtime film professor GEORGE KUCHAR and his twin brother Mike.

2012

2010

SFAI faculty member CARLOS VILLA launches Rehistoricizing Abstract Expressionism in the San Francisco Bay Area, 1950s–1960s, a project that brings visibility to artists of color and women artists who had been excluded from this history.

Alumnus KEHINDE WILEY’s solo exhibition The World Stage: Israel opens at the Contemporary Jewish Museum.

2014

The MFA Exhibition Principal opens to the public, showcasing the future of creative practice. 11

Work by Li Ma (Mary Ma) Diego Rivera Gallery Photographed by Joshua Band

MASTER OF FINE ARTS (MFA) IN STUDIO ART

OPTIONAL EMPHASIS FOR MFA

SFAI’s two-year Master of Fine Arts (MFA)

DESIGN AND TECHNOLOGY

program provides an exciting interdisciplinary

Beginning with the premise that technology is

context in which emerging artists develop and

a platform for creating works of art and design,

refine their work while engaging the historical,

this disciplinary emphasis focuses on technol-

theoretical, sociopolitical, and creative con-

ogy’s potential for innovative application and

cerns of the contemporary moment. Founded

its ability to communicate meaning. Students

on the principle that critical inquiry and experi-

who enter SFAI with interests including

mentation are at the forefront of art-making,

graphic design, web design, interaction design,

the program fosters students’ use of their own

humanities, and science ultimately develop a

questioning to generate a sustaining and vital

conceptually driven art and design practice

creative practice. The program integrates both

that is both experimental and experiential.

formal and conceptual aspects of production,

Working at the intersection of studio and

while incorporating new technologies as tools

academic disciplines—and within the Bay Area,

for innovation.

a hub of technological innovation—students move beyond the screen into realms of instal-

In addition to maintaining an independent

lation, interactive sculpture, sound, electronics,

studio practice, students work one-on-one

mixed media, and systems and networks. The

with faculty in graduate tutorials; participate

program is oriented toward broad research

in small, discussion-based critique seminars;

strategies that are collaborative and forward

engage with local and international visiting

looking, bringing together the ideas we live by

artists and scholars; participate in student-led

and the things we live with.

collaborations, collectives, exhibitions, and curatorial initiatives; and take critical stud-

FILM

ies and art history seminars. This cross-

A pioneering presence in experimental film,

disciplinary curriculum prepares students for

SFAI values the medium’s possibilities for

the demands of art-making in the globalized

individual expression across genres and

twenty-first century.

formats. Students develop understanding and ability within the existing film world, but

Students at SFAI earn an MFA in Studio Art,

also push the boundaries of the medium

and may optionally choose an emphasis in one

by integrating new technologies, exploring

of the Institute’s major disciplines: Design

alternative contexts of production and

and Technology, Film, New Genres, Painting,

distribution, and rethinking relationships

Photography, Printmaking, or Sculpture/

between film and other media. Filmmakers are

Ceramics. Declaring an emphasis allows

able to pursue various approaches—narrative,

students to focus their disciplinary interests,

abstract, experimental, documentary,

while still engaging with students and

commercial—as well as work with film in fine

faculty across the broad array of approaches

art contexts such as site-specific installation.

at SFAI. All MFA students—those who declare

A public screening of time-based work at the

an area of emphasis and those who do

end of the MFA program introduces Bay Area

not—are encouraged to be fluent in the

audiences to SFAI's filmmakers.

discourses surrounding all approaches to contemporary practice. The culmination of the MFA degree is the MFA Exhibition, which is annually celebrated for its intellectual rigor and diverse, cutting-edge Studio of Lila Rosa Maes de Anda

creative output.

NEW GENRES New Genres at SFAI has its roots in the major conceptual and disciplinary shifts in art during the late 1960s and early 1970s. Expanding upon the art historical lineage for the traditional use of a given media, New Genres references the rich and more recent history of investigational contemporary art that includes Fluxus, Chris Burden, and Marina Abramovic, as well as SFAI alumni Jason Rhoades, Karen Finley, Paul Kos, and Tony Labat, among many others. New Genres artists often work in video, performance, and intervention, but the practice of New Genres transcends specific media—for each project, the concept, intention, and meaning drive the form of expression.

PAINTING Painting at SFAI is dynamically situated between a legacy of important artists and movements that have been based at the Institute and the wide range of possibilities available to contemporary painters today. Students work to visually articulate their technical, formal, aesthetic, narrative, and emotional concerns, and are challenged to push the physical and conceptual limits of the medium. The diversity of practices and the flexible structure of the curriculum foster honest and intensive interaction with faculty and peers, while acclaimed visiting artists offer an unmatched level of engagement with contemporary currents in painting.

PHOTOGRAPHY The artists involved in the creation of SFAI's Photography department—Ansel Adams, Minor White, Dorothea Lange—are the most

traditional methods offer unexplored potential, as well as how emerging technologies are shaping twenty-first-century image-making. Questions of scale, installation, and performative or interactive possibilities are also important aspects of the conversations surrounding the medium.

PRINTMAKING SFAI’s Printmaking emphasis challenges artists to use traditional processes conceptually to translate ideas into print. The facilities are equipped for lithography, intaglio, screenprinting, letterpress, and relief, as well as digital printing and the making of artists’ books. Artists may work with centuries-old techniques or new technologies, choosing between—or mixing—the traditional and experimental applications of these media. While some SFAI artists become master printers, many build off the rigor, art, and science of printmaking to utilize the medium in unexpected ways that cross disciplines, explore concepts of multiplicity, or question the nature of reproduction.

SCULPTURE/CERAMICS Sculpture/Ceramics at SFAI hinges on the interplay of the material and conceptual, emphasizing investigation, critical thinking, and problem solving as central components of artistic development. Facilities are available for work in ceramics, wood, metal, plaster, fabric, and electronics, while also encouraging interdisciplinary experimentation and sitespecific strategies. An emphasis on systems and environments—sculpture as informed by urban studies, sustainability, ecology, architecture, public art, and activism—encourages artistic practice as a form of social engagement.

noted in photography’s history, and the Photography emphasis still carries their legacy of fine art practice engaged with environmental and societal conditions. Understanding that the visual language of photography is central to the contemporary world, SFAI addresses photographs both as formal objects and as modes of communication, documentation, expression, and critique. Students may work in analogue or digital formats, considering what Studio of Grace Kim

MASTER OF ARTS (MA) The Master of Arts (MA) programs provide a generative context for advanced scholarly and creative inquiry into the major ideas, institutions, and discourses of contemporary art and

Studies considers how socioeconomic, political, and cultural contexts affect the production and presentation of visual phenomena, and how exhibitions become, in and of themselves, contemporary art.

production. Working with artists, historians,

HISTORY AND THEORY OF CONTEMPORARY ART (HTCA)

theorists, curators, practitioners, and thinkers

Emphasizing critical thinking and writing, as

from diverse disciplines, MA students par-

well as the close examination of visual phe-

ticipate in seminars and research and writing

nomena and artifacts, this program provides

colloquia, and have opportunities for curating,

students with a historically situated, in-depth

internships, and travel. These interdisciplinary

understanding of the discourses surround-

offerings prepare the student to identify and

ing global contemporary art and culture. To

pursue an individualized course of study that

theorize and historicize contemporary art is to

will culminate in the final research thesis.

acknowledge the role of art within the broader

the sociocultural and political conditions of its

spheres of its production and exhibition. StuStudents in all three MA programs pursue a

dents are exposed to a variety of models for

topic of their own choosing in depth through

analysis and the curriculum addresses complex

the writing of a thesis. Research begins in

issues such as the influence of media and no-

the first year and continues throughout the

tions of reproducibility; the role of the artist as

second year. Alongside the writing of this

social researcher, interventionist, or activist;

project, students present their research in

the influence of globalization; questions of

a public symposium.

authorship and appropriation; the legacy and currency of feminism and gender studies; and

Essential to SFAI’s MA programs is their loca-

the lineage of modernism and postmodernism.

tion within a studio art school. MA students pursue their academic disciplines in a labora-

Students may also pursue the MA degree in

tory of contemporary art, taking classes along-

HTCA through the Dual Degree MA/MFA pro-

side, and often working directly with, MFA

gram (see opposite page).

students. Exhibitions, public programs, and SFAI’s unique dual capstone requirement—an

URBAN STUDIES (US)

individual written thesis as well as a multifac-

SFAI’s Urban Studies program addresses the

eted collaborative project—allow MA students

contributions of art, artists, and researchers

to further intertwine academic research and

in the urban domain, broadly defined. The

professionally oriented experiences.

program emerged in recognition of the fact that artists and scholars of the visual can

EXHIBITION AND MUSEUM STUDIES (EMS) The shifting and expanding role of visual culture poses increasing challenges for artists, theorists, curators, and institutions. Museums, exhibitions, and other forms of display are not only sites for collecting and placing objects on view; they now encompass alternative experiences and environments and serve as sites for artistic experimentation and intervention in the public sphere. More expansive than a curatorial program and both local and Studio of Owen Laurion

international in scope, Exhibition and Museum

contribute to discussion around pressing issues of contemporary urban life: increasing urban populations, inequality, migration, new cultural geographies, the politics of space and the built environment, questions of sustainability, and the effects of a global economy—all of which are radically transforming cities worldwide. Approaching these issues from a fine arts perspective, Urban Studies at SFAI encourages students to develop interchange between academic and applied practice, creating work that directly engages the spatial environment.

DUAL DEGREE MA/MFA

LOW-RESIDENCY MFA IN STUDIO ART

The Dual Degree MA/MFA is designed for students whose practices cross the disciplines

SFAI’s Low-Residency MFA in Studio Art

of fine arts production and scholarship. This

program offers the rigor and artistic communi-

interdisciplinary program equips students to

ty of the full-time program in a flexible format

engage theoretical, historical, social, and cre-

ideally suited for artists, teachers, and others

ative spheres at their points of intersection.

who wish to develop and refine their work while maintaining a professional career

A three-year program, the Dual Degree MA/

or personal commitment.

MFA consists of: • An MA in the History and

Completed over three years, the program

Theory of Contemporary Art

allows students to work with SFAI faculty

• An MFA in Studio Art with an optional

during intensive eight-week summer sessions

emphasis (Design and Technology, Film, New Genres, Painting, Photography, Printmaking, Sculpture/Ceramics) The culmination of the program is participation in the MFA Exhibition after the second year, and completion of a written thesis, as well as participation in the Collaborative Project by the end of the third year.

in San Franicisco’s vibrant art community, and independently through mentored, off-site, one-on-one study during the fall and spring semesters. During the summer, students in the program have studio space in the graduate facility and access to all of SFAI’s facilities. The summer sessions combine critiques, art history and critical studies seminars, visiting artist lectures, and individualized tutorials to create a comprehensive studio- and research-based

POST-BACCALAUREATE CERTIFICATE IN STUDIO ART Post-Baccalaureate study at SFAI gives artists the opportunity to strengthen creative work through studio practice, critical engagement, community, and dialogue. The program serves as a bridge between undergraduate and graduate programs, and as an immersive, twosemester commitment for midcareer artists looking to reinvest in a studio practice. By providing a rigorous yet supportive context that combines independent work, critical classes, and technical study, the program positions

curriculum. Students participate in Summer and Winter Reviews in San Francisco each year, and the program culminates with the MFA Exhibition, which assembles the work of all graduating MFA students. A robust summer Graduate Lecture Series provides opportunities for exposure to top contemporary artists. In Summer 2014, the collaborative team Aziz + Cucher will lead the Low-Residency MFA program as Artists in Residence and Guest Faculty. Anthony Aziz and Sammy Cucher are esteemed alumni of the MFA program at SFAI and pioneers in the realms of digital media, installation, photography/ post-photography, and new genres.

artists for future success in creative fields. Artists in the program have gone on to study in the nation’s most competitive MFA programs, to receive fellowships and residencies from institutions around the world, and to produce some of the strongest work in SFAI’s MFA program. Studio of Oscar Moreno

Studio of Minoosh Zomorodinia

SAN FRANCISCO ART INSTITUTE’S “HISTORY” IS OF ALWAYS BEING CONTEMPORARY.

The SFAI community believes in lifelong questioning and creative dialogue as vital to a robust and healthy society. This place is best described as a community of individu-

SFAI’s educational philosophy emphasizes

alists who collectively believe that art and

individual questioning as central to learning;

ideas can change the world.

it embraces expansive and transformative ideas that cannot be contained by traditional

In the pages that follow, you will see how

paradigms, but rather require new questions

this group of individualists is making their

and new paradigms; it centers on ideas, and

mark on the cultural landscape. SFAI wishes

the symbiosis of idea/form of expression; it

them all the best as they embark on this next

promotes dialogue; it challenges the status

phase, whatever that may be.

quo and questions ideologies; it does not prioritize creating marketable products; it redefines notions of success based on individualistic criteria.

Studio of Tania Houtzager

Or, more simply put…

KEEP YOUR FORK

THE BEST IS YET TO COME Tony Labat Chair, MFA Department

NANDO ALVAREZ nandoalvarezperez.com BORN Buffalo, New York, 1988 EDUCATION BA Film Studies, Hunter College of The City University of New York, 2011

MFA Photography, San Francisco Art Institute, 2014

Working in all photographic genres—portraiture, landscape, abstract, street, still life—my work deals with dismantling photography’s claim to representing the world as it is, choosing instead to focus on the nature of photographic perception itself, resulting in a more ambiguous, open-ended archive of images that revel in and reveal their capacity for slippage and uncertainty. Together, and particularly in book form, my images constitute a symbolic ecosystem of shared materials, objects, and signs.

Untitled 2013 Inkjet print Dimensions variable

Untitled 2014 Inkjet print Dimensions variable

SARAH A. D. AMMONS sarahammons.ca BORN Oshawa, Ontario, Canada, 1989 EDUCATION BFA Painting and Drawing, Queenâ&#x20AC;&#x2122;s University, 2012

MFA Painting, San Francisco Art Institute, 2014

My paintings and drawings investigate the secret realities that exist within particular relationshipsâ&#x20AC;&#x201D;be they romantic, familial, or in one's relationship to herself. Rendered with expressive line-work and codified, but utilizing open-ended narrative, my figures enact scenes of internal conflict, revelation, and uncertainty that accompany love.

Drew and Emily under the Mistletoe 2014 Mixed media drawing/collage 12 x 24 inches

Give Yourself a Talking To 2014 Mixed media drawing/collage 12 x 24 inches

JAVIER ARBIZU javierarbizu.com BORN Estella, Spain, 1984 EDUCATION BFA Painting, University of Salamanca, 2007

MFA Painting, San Francisco Art Institute, 2014

My interest in painting lies in its capacity to deal, in a very direct manner, with ideas of potential and absence. In my art practiceâ&#x20AC;&#x201D;a process of synthesisâ&#x20AC;&#x201D;the anecdote gradually disappears by overlapping levels of distance between the final and the initial motive, and between the meaning of departure and the resulting representation. The cancellation of what is relevant is one of the tenets of my work, as I erase significant clues in the image so what prevails is an inherent tension.

Studio Space 2013 Oil on paper and cyanotype on paper Dimensions variable

SHAY ARICK shayarick.com BORN Kfar-Sava, Israel, 1979 EDUCATION BFA Art, Bezalel Academy of Arts and Design, Jerusalem, 2011

MFA Sculpture, San Francisco Art Institute, 2014

Domestic Olympics 2014 HD video 1:57 minutes

MARIA THERESA BARBIST mariatheresabarbist.com BORN Schwaz, Austria, 1979 EDUCATION PhD Psychology, University of Innsbruck, 2005

MFA New Genres, San Francisco Art Institute, 2014

Where do I exist if my body is not safe? How can I relate to others if my own space is unsecured? In translating my inner world into movement I become real, I become a person witnessed by others. I find my subjectivity in the documentation of my performances, a proof of my existence.

Archetypes 2013 Performance 9 minutes Photographed by Kedar Lawrence

MARIEL BAYONA marielbayona.com BORN Ciudad Juárez, Mexico, 1988 EDUCATION BFA Painting, University of the Incarnate Word, 2012

MFA Sculpture, San Francisco Art Institute, 2014

“They are so stubbornly undetermined that they can barely be called monsters.” –Leonora Carrington There is no such thing as a “pure blood” race in contemporary society. Especially in multicultural countries where race is so mixed, it makes young generations question which specific lineage they belong to. Based on fantastic animal hybrids and Mexican cultural elements, my work reflects this issue of identity. These native creatures, or as I like to call them “monsters,” are a break between mysticism and reality. My characters also address this social matter by mixing discreet universal symbols with traditional Aztec patterns as well as my own.

Ollín 2014 Gauche and ink on paper 60 x 36 inches

MIKA AONO BOYD mikaboyd.com BORN Sendai, Japan EDUCATION BA Elementary and Special Education, Miyagi University of Education, 1994; BA Art, University of Oregon, 2010

MFA Printmaking, San Francisco Art Institute, 2014

Deeply embedded in my intimate objects are questions about what it means to repeat and go across geographical and emotional borders; their delicacy parodies my identity. In setting a goal to infinitely repeat processes, I am bound to failâ&#x20AC;&#x201D;what is missing becomes vital in the work. Through these somewhat absurd and possibly futile actions, I manifest that everything is in a state of becoming.

In Keeping (Still photograph from A Pair of Jeans Metamorphosis) 2010â&#x20AC;&#x201C;present (ongoing project) Cut and sewn denim Dimensions variable

The Book of Verbs 2013 Altered book 5 x 3 x 1 inches

Following 2013 Screenprinting, organza, thread, and engraving Dimensions variable

ANGELA BROWN angelabrown.net BORN Carmichael, California EDUCATION BA Liberal Studies, Sonoma State University

MFA New Genres, San Francisco Art Institute, 2014

My art and research practice is centered on discovering stories found within the flow of everyday life. Through using sound, text, image, and video, I create a space for these narratives to be shared and pondered beyond the social landscape within which they were initially found.

What Makes You Happy? Dolores Park, 2013 Digital inkjet print Dimensions variable

What Makes You Happy? Hayes Valley, 2013 Digital inkjet print Dimensions variable

JACQUELINE R. BUTTICE jackiebuttice.com BORN Los Angeles, California, 1978 EDUCATION BA Computing and the Arts, University of California, San Diego, 2002

MFA Design and Technology, San Francisco Art Institute, 2014

I envision a future of the web that moves past the shallowness of 140 characters; my mission through art is to utilize my creativity and thoughtfulness to help revolutionize/redesign/rethink how the web and technologies work to allow people/society to form deeper connections. My work explores the themes of femininity, hybridity, and technology, and how these emerging realms can affect us on a social and personal level. I seek to merge film, photography, music, and design into one landscape that helps us learn something about ourselves and ultimately makes us more connected to one another.

How Can I Help You Today? 2013 Light sculpture 11 x 6 x 5 inches

IRENE CARVAJAL carvajal-art.com BORN Washington, D.C. EDUCATION Coursework in Graphic Design, University of Costa Rica, 1990; BFA Visual Communication, University of Kansas, 1992

MFA Printmaking, San Francisco Art Institute, 2014

My work is located in the space where globalized culture presses against local culture. Everyday objects such as garments also exist in this space. They are the result of worldwide labor and, as such, can be seen as sociopolitical, cultural, and economic objects. I seek to reveal these complex cultural and conceptual layers by collapsing the space normally occupied by the body and subjecting it to the physical pressure of the printing press.

Dirty Laundry 2013 Garments, acrylic medium, rope, acrylic paint, and clothespins 72 x 144 x 12 inches

Playing to My Anxieties 2013 Screenprinted bathroom scales and welded steel 120 x 15 x 3 inches

VALERIE RAE CASTRO hellfirecinema.com BORN Palm Springs, California, 1980 EDUCATION BA Television and Radio, San Francisco State University, 2002

MFA Filmmaking, San Francisco Art Institute, 2014

My body of work is a transgressive and campy kaleidoscope that examines the political, sexual, and racial satire of the past and present. I am particularly interested in the dynamics between people and in uncovering the dark fantasies and realities that mirror their needs and desires. My feature film That Night (2014) explores the themes of race, class, and privilege within the queer community, while examining the inner dynamics of their relationships through a dark and satirical lens.

That Night 2014 Feature film in HD video 90 minutes

IJU CHIANG cargocollective.com/ijuchiang BORN Taipei, Taiwan, 1986 EDUCATION BFA Individualized Major with Concentration in Painting/ Drawing, California College of the Arts, 2010

MFA New Genres, San Francisco Art Institute, 2014

My work celebrates youth and the idea of youthâ&#x20AC;&#x201D;always in a rush, rebellious, uncertain, spontaneous, and innocent in its natural impulses (both sweet and sinister). I am thrilled by the moment of the unknown, the accidental slippage. I seek the raw state of intention and encourage viewers to reconnect with their childish instincts.

Bklyn Botanic Garden 2013 Digital painting Dimensions variable

Icy Condition 2014 Digital painting Dimensions variable

SAMANTHA LYNN CROTEAU samanthalynncroteau.com BORN Lawrence, Massachusetts, 1986 EDUCATION BA in Photography and Media Arts, Chester College of New England, 2011

MFA Photography, San Francisco Art Institute, 2014

Since a young age, I was taught to be aware of my physical bodyâ&#x20AC;&#x201D;from my training as a gymnast to media saturated with sexualized female imagery. This awareness has become integral to my practice. I stage my body or compose the world in ways that represent concepts related to femininity. I am interested in where power lies in representing the female body, a form that is so often misused.

Tattoo 2014 Archival inkjet print from 4 x 5 negative Dimensions variable

LILA ROSA MAES DE ANDA lilamaesart.com fertilityvessels.com lilarosastudios.com BORN San Francisco, California EDUCATION BA Consumer and Family Studies, Focus in Textiles and Design, San Francisco State University, 2001

MFA Sculpture, San Francisco Art Institute, 2014

By embracing the flaws of found objects and working within those imperfections to create new forms that will expand with time, I explore the cycles of life, death, and transformation. My practice is intuitive, my imagery comes from nature, and I access materials from my environment. I reference environmental science, biology, land use, botany, and plant medicine. I strive to contribute to sustainable ecosystems by bringing attention to the intersection of social and environmental issues.

The Rebirth 2013 Reclaimed lath, found glass, and moss 26 x 51 x 16 inches

Fertility Vessel 2013 Clay, soil, organic seeds, and mica 10 x 10 x 5.5 inches

SOGOL REZVANI DEHAGHANI sogolrezvani.com BORN Tehran, Iran, 1988 EDUCATION BA Cinema, Art University of Tehran, 2010

MFA Film, San Francisco Art Institute, 2014

My films are predominantly narrative fiction. My style is inspired by the cinema of Iranian realism. My works usually explore the dynamics of human relationships through revealing dialogue. The stories are simple stories about ordinary peopleâ&#x20AC;&#x2122;s lives and their everyday scenarios with less complicated and noticeable twists. A slight complication in their lives becomes the climax of their routine.

Stillâ&#x20AC;Ś 2013 Video 26 minutes

The Carrots 2013 Video 14 minutes

TINA M. DILLMAN tinadillman.com BORN Oneida, New York, 1979 EDUCATION BFA Painting & Drawing, University of Iowa, 2003

MFA New Genres, San Francisco Art Institute, 2014

“Performance artists are not the kind of people who wish to be discovered working in garrets but, rather, hope to change the world.” –Martha Wilson

Bienvenido (Welcome) 2012 Performance 60 minutes

Lying for One Hour with a 30-lb Block of Ice on My Stomach 2012 Performance

In Memory of… 2013 Performance, Garfield Park, San Francisco 3 hours

The Kissing Booth 2012 Performance 5 hours

ARPI DJENGUERIAN arpidjenguerian.com BORN Beirut, Lebanon EDUCATION BS Electrical Engineering and Computer Science, University of California, Berkeley; BFA Painting, California College of the Arts, 2010

MFA Painting, San Francisco Art Institute, 2014

My work investigates the intersection of digital media and traditional painting, exploring the materiality of hardware, software, code, and virtual simulation. My animated paintings yield an ongoing chronicle of form in motion, continuously choreographing a complex layered symphony of integrated parts. Rhythmic pulsations and layers of mutating threedimensional shapes move in and out of the foreground to suggest harmonies, melodies, solos, and musical patterns translated into pictorial space.

Quetzal Logic (Front) 2014 Video, silent 5-minute loop

Quetzal Logic (Top) 2014 Video, silent 5-minute loop

Quetzal Logic (Side) 2014 Video, silent 5-minute loop

KIRA DRALLE kiradralle.com BORN Geneseo, Illinois, 1985 EDUCATION BS Studio Art, Photography, Bradley University, 2008

Dual Degree MA/MFA History and Theory of Contemporary Art/New Genres, San Francisco Art Institute, 2014

The acts of reading and writing are both deeply embodied and performative experiences. Deeply intertwined with my writing practice, my praxis explores performance in terms of corporeal knowledge and modalities that are often disregarded as unintellectual and feminine. Through performance, I illustrate the productive role of feminine modalities and their impact on the production of cultural knowledge.

Lecture on Nothing by John Cage (1957) 2012 Performance video still 17 minutes

GABRIEL D. EDWARDS gabrieldedwards.com BORN Oxnard, California, 1984 EDUCATION BA Philosophy, Azusa Pacific University, 2008

MFA Painting, San Francisco Art Institute, 2014

I believe stories are the one thing we can take with us from this life, and I value every opportunity I have to absorb or share a new one. By presenting a topic in a humorous yet matter-of-fact way, I allow viewers to build their own narratives and judgments around the art. Fundamentally, I want to develop a varied body of work that is wondrous and magical.

OJMJ 2013 Housepaint on wood 18 x 22 x 2 inches

The Picture of Dorian Gray 2013 Black pen on paper with voice 390 minutes

The Metamorphosis 2013 Black pen on paper with voice 150 minutes

MARSHALL ELLIOTT marshallelliott.com BORN Eglin, Florida, 1976 EDUCATION BA Film Studies, University of Colorado, 1999; BA English Literature, University of Colorado, 1999

MFA Sculpture, San Francisco Art Institute, 2014

Ghost Bike 2013 Bicycle, steel, wood, motor, gearing, paint, reflective glass beads, and bell 38 x 66 x 98 inches (180-inch diameter moving circumference)

CAITY FARES caitlinfares.com BORN San Diego, California, 1987 EDUCATION BA Art, University of California, Santa Cruz, 2009

MFA Photography, San Francisco Art Institute, 2014

My current work investigates the literal and metaphorical construction of consciousness. I build analogue pinhole cameras out of inanimate human and nonhuman forms to highlight the tension produced at the crossroads of antiquated processing and artificial intelligence. By allowing physical blemishes and serendipitous light leaks to become a part of my images, I speak to the astounding and dynamic nature of existence and perception.

Visions (from the series Mannequin Camera) 2013 Grid of 21 archival inkjet prints from 35mm color film Dimensions variable

Untitled #4 (from the series Idea of Being) 2014 Chromogenic print 16 x 20 inches

ANA PAULA FONSECA anapaulafonseca.com BORN Pelotas, Rio Grande do Sul, Brazil EDUCATION BFA Painting, San Francisco Art Institute, 2011

MFA Painting, San Francisco Art Institute, 2013

I have always been drawn to the notion of polarities and their essential energy of action and coexistence: positive and negative, light and darkness, life and death, solids and spaces, and the alternations of existing and not existing. All aspects of existence are referred to a moment called “the present.” Presence, supposedly, defines an original condition, a condition that must have come first. Thus, a second state of presence can be perceived as absence—the vanishing of the ecosphere and dying of consciousness. My work is influenced by the notion of subsistence and its correlation to the ambiguous and ephemeral. Vita in Oriente 2013 Mixed media on canvas Dimensions variable

DIANA GALVIS dianagalvis.com BORN BogotĂĄ, Colombia, 1989 EDUCATION BA Design, Universidad de los Andes, 2011

MFA Design and Technology, San Francisco Art Institute, 2014

I often ponder better ways to use technology as a medium of interaction between people and the world around us, particularly through the Internet. I consider this phenomenon unique to our times since it leads to a hybridity of psychesâ&#x20AC;&#x201D;multiple perspectives merging into a collective psyche where others are part of oneself. My pieces endeavor to emphasize such concepts, adopting the bodiless, multidimensional nature of the web and examining its repercussions in a physical reality. Hence, I use bridges between virtual and physical worlds such as physical computing, laser cutting, 3D printing, and projections combined with handcrafted objects. We All Bleed the Same Way 2013 Electronics, acrylic, ink, water, and video projection Dimensions variable

Playing with Fire 2013 Laser-cut masonite, 3D-printed plastic, and electronics 43 x 10 x 10 inches

World Wired Web 2013 Dark steel wire and electronics Dimensions variable

MARTIN SAMMY GARDEA martinsgardea.com BORN Fort Morgan, Colorado, 1984 EDUCATION BFA Sculpture, Rocky Mountain College of Art + Design, 2007

MFA New Genres, San Francisco Art Institute, 2014

My practice makes sense out of nonsense, through a crescendo of heavy riffs while marching through the tundra. Always prepared with a sharp wit, my work is positioned within a subculture while constructing its own folklore. I work conceptually, recontextualizing the truth of an objectâ&#x20AC;&#x2122;s origin, through a process of tonguein-cheek wordplay. Through the forming of agency in personal anecdotes, I create situations of obscurity and humor that facilitate my life imitating art.

Untitled 2013 Collage 32 x 31.25 inches

Erasing Sol LeWitt Wall Drawing 45A 2013 Pencil and eraser fragments 144 x 96 inches

MICHAEL T. GAUGHAN michael-gaughan.com BORN Woodstock, Illinois, 1980 EDUCATION BFA Painting, Minneapolis College of Art and Design, 2002; MEd Art Education, University of Minnesota, 2004

MFA Painting, San Francisco Art Institute, 2014

Through the act of post-looking, my tri-contemporary practice of exagorationalistic metaphysical rhapsody has been halted and repopinated during the semesteral investigation (as expected, but uncluckedly punctioned as a result of this massive ellenexintripilation). As a scholarly vanor in the cloris I have questioned the ferfitude of the mono-vista that panoramalizes the caucasially flaccid socially practicalistical continuum, and have sculpturally benefited from the climactic and simultaneously anticlimatic pander ponder pastiche while conceptually building a rigid post-intellectual fullamul drifting into a graceful austere of innovation weighted by clumps. Thank You I LOVE ALL MY FRIENDS 2014 Fermented fog ink on wentshukumishiteu scrotum fiber paper 22 x 22 inches

CHRIS GRUNDER chrisgrunder.com BORN Honolulu, Hawaii, 1985 EDUCATION BA History and Art History, University of Washington, 2007

MFA Photography, San Francisco Art Institute, 2014

I have always been fascinated with the act of collecting and classifying. I use photography for its capacity to encapsulate and codify an experience. The intent of my work is to heighten the distinction between the moment spent with a thing, and the thing itself.

Eight (excerpt from the series A Healthy Presence) 2013 Archival pigment print 5 x 7.5 inches

SAMIRA HASHEMI samira-hashemi.com BORN Kerman, Iran, 1982 EDUCATION BA Fine Arts, Birmingham City University, United Kingdom, 2012

MFA New Genres, San Francisco Art Institute, 2014

Inspired by interpersonal relationships underlying controversial issues, I set myself as a medium to bring those human experiences into my work, blurring the boundaries between the fictional and real. Domestic and intimate dynamics in the work allow me to shift the hierarchy of relationships between the performers and the audiences, mediated by my role as an â&#x20AC;&#x153;artist.â&#x20AC;? Anachronistic use of technology allows me to recontextualize everyday encounters, making the pieces resonate with traces of collective memory and history.

She Reads the Poem 2013 Video 7:15 minutes

The Intimate Machine 2013 Digital inkjet print 11 x 19 inches

MARC DANIEL HIRSCH marcdanielhirsch.com BORN Los Angeles, California, 1984 EDUCATION BFA Painting, Otis College of Art and Design, 2008

MFA Painting, San Francisco Art Institute, 2014

Since the first craftsmen, artists, and architects made their simple creations, the human race has made countless achievements and expanded our minds in ways we never could have imagined; yet weâ&#x20AC;&#x2122;re still the same freshly civilized humans from ten thousand years ago. My work takes an evenhanded point of view of human achievements through the hybridization of cultural artifacts and structures. With an incoherent timeline and bastardization of the culturally sacred, I aim to bring discourse to the ego of our greatness.

Arcade Henge 2013 Acrylic 30 x 40 x 2 inches

Machu Picchu Development 2013 Acrylic and photo 13 x 18 x 2 inches

CHANDLER HOLMES chandlerholmes.com BORN Winter Haven, Florida, 1990 EDUCATION BFA Photography, University of Florida, 2012

MFA Photography, San Francisco Art Institute, 2014

The (Family) Trials is a series that catalogues the photographers who exhibited in the seminal 1991 exhibition The Pleasures and Terrors of Domestic Comfort (MoMA, New York), as if they were my own parents. The photographs become a document concerning the lives of these artists who represented family dynamics in their artistic practice. These domestic interactions parallel my status as the artistâ&#x20AC;&#x201D; emerging as opposed to accomplishedâ&#x20AC;&#x201D;and confront the inevitable networking that is an element of the art world. The photographs capitalize on the dualities of creator and subject, photographer and photographed.

The Sohier Trial 2013 Archival inkjet print 30 x 40 inches

The Pinderhughes Trial 2013 Archival inkjet print 30 x 40 inches

PATRICK HOTHAN patrickhothan.com BORN Topeka, Kansas, 1988 EDUCATION BFA Painting, Washburn University, 2011

MFA Painting, San Francisco Art Institute, 2014

The aesthetics of consumerism and advertising coupled with the wear and tear of an object provide a sense of life, show evidence of age, but above all make my paintings appear a believable part of the world they belong to. The lighting and details are depicted as they appear in the real world via photography, an essential component in my paintings. However, the refuse I encounter on the street ultimately guides the manner in which I compose and translate a composition onto the canvas.

USA TODAY 2013 Oil on linen 32 x 44 inches

Pop Corn 2014 Oil on canvas 26 x 26 inches

KEYU HUANG BORN Nantong, China EDUCATION BA Journalism and Communication, Nanjing Normal University, 2006

MFA Film, San Francisco Art Institute, 2014

My short film The Tree is a story about a young man. He is given a flower from his sister, which prompts him to have a nightmare. The nightmare forces him to realize that as a child he killed his mother. He ultimately has to make a choice either to stop killing or to release his inner psychopath. The film was inspired by the Grimm fairytale The Juniper Tree. In that story, a murdered boyâ&#x20AC;&#x2122;s soul turns into a bird and, with the song he sings, tells his father the truth: that his stepmother killed him and buried him under the juniper tree.

The Tree 2014 HD video 20 minutes

TING HUANG tinghuangphotography.com EDUCATION BM Music Composition, University of Texas at Arlington, 2010

MFA Photography, San Francisco Art Institute, 2014

Photography captures the simultaneity of movement and stillness. I want my images to sit in a place that is neither comfortable nor uncomfortable. They quiver in their persistent aliveness and lethargy. The seemingly insoluble opposites in the images remind us of the uncanny that is yet familiar. The photographs are like little ghosts in the likenesses of ourselves.

Untitled 2013 Digital inkjet print 24 x 36 inches

Machi 2014 Digital inkjet print 24 x 36 inches

JUNNAN JIANG tudou.com/home/_103488913 BORN Tieling, China, 1990 EDUCATION BA Film and Television Studies, Beijing Normal University, 2008

MFA Film, San Francisco Art Institute, 2014

I am interested in probing intrinsic human emotion and desire. The audience deserves my high respect no matter what message they receive, yet more and more, I am unconcerned with whether the audience understands what I present in my work. I value the idea that emotion can be melded with reality, and also destroyed by reality in return. My work is like a witch from a fairytale, with the freshest apple presented to the audience.

Red Dress 2014 HD video 15 minutes

The Lion at the Edge of the Cliff 2012 HD video 19 minutes

XIAOTONG NICO JIANG BORN Shandong, China, 1989 EDUCATION BA Film, Peking University, 2012

MFA Photography, San Francisco Art Institute, 2014

My photography and video work explores the experiences of Chinese people during the recent transformational decades. As a Chinese artist, I begin with my own knowledge and emotions to observe and uncover the dilemmas of Chinese people drifting in the waves of social changes. I question their reactions to the contemporary predicamentâ&#x20AC;&#x201D;rallying cries, evasion, or numbness.

Car Washing 2013 Archival inkjet print Dimensions variable

The Old Poster in Grandmaâ&#x20AC;&#x2122;s House 2013 Archival inkjet print 24 x 36 inches

HEATHER MARIE JONES BORN Salina, Kansas, 1983 EDUCATION BFA Textile Design, University of Kansas, 2012

MFA New Genres, San Francisco Art Institute, 2014

My sculpture-derived textile pieces are reminders of the constant linear battle against the cyclical nature of time and human beings. My work celebrates human strength and our capabilities. My mission is to inspire those who need inspiring, and to strengthen them on their journey. History and time tie my practices together. As a sculptor and textile artist, the foundation of my work is in bringing things together to create objective experiences that are much greater and more impactful than just one element might be. As time continues to spiral, I will continue to walk this line.

Time (Scale model) 2013 Dowels, vellum, India ink, tape, glue, and playa dust 10 x 8 x 8 inches

DAVID LASLEY davidlasley.org BORN Fort Worth, Texas, 1984 EDUCATION BFA Painting, Northern Illinois University, 2007

MFA Painting, San Francisco Art Institute, 2014

In my work, I seek to exploit the romantic desperation in self-portraitureâ&#x20AC;&#x2122;s inherent vanity. Through my sarcastic and cynical portraits, I aim to question the status of beauty found throughout Western visual culture and mass media. Combining traditional sensibilities of painting and a modern palette, I create a dialogue between images of classical idealism and the mediaâ&#x20AC;&#x2122;s portrayal of contemporary machismo. Performing these practices in painting, my work becomes a perverted celebration of art historical moments that depict a manly ideal of beauty.

The Astrologist 2013 Oil on linen 44 x 32 inches

MONIKA LUKOWSKA monikalukowska.com BORN Katowice, Poland, 1986 EDUCATION MA Printmaking, Eugeniusz Geppert Academy of Fine Arts, Wroclaw, Poland, 2011

MFA Printmaking, San Francisco Art Institute, 2014

My art practice is a way of measuring distance between myself and the surrounding world. I see artwork as the integration of an idea or concept into a physical entity. Principal themes that I explore in my works are the concept of the internationalization of art and the cultural identity in the globalization era. I am also interested in the relationship between humans and nature and the process of how industrialization has transformed the landscape.

Untitled 2013 Digital print on paper 32 x 48 inches

Monuments of the Landscape 2 2013 Digital print on paper 49 x 55 inches

LI MA (MARY MA) malimalimali.com BORN Fuzhou, China, 1982 EDUCATION BS Chemical Engineering, Donghua University, Shanghai, 2005

MFA Painting, San Francisco Art Institute, 2014

I create installations and sculptures that explore dichotomies of time, culture, and nature through the use of nontraditional art media and discarded materials such as fabric, plastic, and paper. I formulate dreamlike worlds with graphic motifs borrowed from my Chinese heritage, and patterns influenced by my background in choreography and experience in a collective society. The repetitive, laborintensive process casts me as a cultural producer operating a sweatshop of cutting, pasting, sewing, and stitching. Through a practice that becomes a ritual, the result is my own Madein-China temple.

Wishing Tree 2013 Fabric scraps, hula hoop, and wire Dimensions variable

C. FRANCO MALDONADO cfrancomaldonado.com BORN San Juan, Puerto Rico, 1985 EDUCATION BA Philosophy/BFA Fine Art, University of Puerto Rico, RĂo Piedras

MFA New Genres, San Francisco Art Institute, 2014

My work is about not giving a fuck in a classy and intelligent manner.

Self-Portrait as a Schizophrenic 2013 Mixed media Dimensions variable

MARY COREY MARCH marymarch.com BORN Los Angeles, California, 1977 EDUCATION BA History of Religions, Earlham College, 1999; Fine Art Diploma, School of the Museum of Fine Arts, Boston, 2003; MA Integrated Arts Education, Plymouth State University, 2004

MFA New Genres, San Francisco Art Institute, 2014

I walk a tightrope between defined states in all of my work, existing between art and craft, high tech and low tech, so-called “women’s work” and “men’s work.” How we define and experience ourselves and each other is a constant focus. In particular, I dig into the space between established definitions, often via active participation. Recently, I extended this to explore how the digital world frames and mediates human experience and interaction.

Do You Read Me? (Disintermediation) (Detail of installation) 2014 Mixed-media participatory installation: participants’ responses to personal questions, thread, fabric, and plastic Dimensions variable (made to fill the room)

CLAUDIA CONSTANCE MARTIN claudiaconstancemartin.com BORN San Antonio, Texas, 1983 EDUCATION BA English Literature and Film Theory, University of Oregon, 2006; Post-Baccalaureate Certificate, Studio Art, San Francisco Art Institute, 2012

MFA Photography, San Francisco Art Institute, 2014

In art and in life, one must peel off the exterior layers of people to see what exists beneath the immediate surface. With psychological landscapes I am signifying something beyond immediate reality. Working with natural light, digital and film photography, canvas, and silk fabric, I compose cinematic spaces that are in between the material and the spiritual world, language and the concrete, exploring the anatomy of melancholy, nature, and the bridge between reality and illusion.

The Portal 2013 Digital inkjet print 24 x 36 inches

Like a Patient Etherized Upon a Table 2013 Digital inkjet print 22 x 37 inches

GOLBANOU MOGHADDAS golbanou-moghaddas.com BORN Tehran, Iran, 1980 EDUCATION BA Illustration, Tehran Azad University of Art and Architecture, 2006; MA Communication Design/ Illustration, Central Saint Martins College of Art and Design, University of the Arts London, 2011

MFA Printmaking, San Francisco Art Institute, 2014

My art is a visual documentation of my experiences as a transient observer through the journey of life. Rather than a topographical view, I aim to emphasize spiritual matters. I believe philosophy and poetry to be a passage to the human soul. I am drawn to human anatomy and the sophisticated beauty of our bones and organs. Etching is a meditative practice. The repetitive act of drawing into the plate enables my mind to reach a state of stillness that connects me to the present moment.

Valleys of Unity and Awe; The Poetic Distance 2013 Multiple plate hard-ground etching printed on gampi paper Chine collé 29.5 x 22.5 inches

Atlas-VII-Valley of Nothingness 2013 Multiple plate hard-ground etching printed on gampi paper Chine collé 29.5 x 22.5 inches

Thoracic-IV-Valley of Detachment 2013 Multiple plate hard-ground etching printed on gampi paper Chine collé 29.5 x 22.5 inches

ALEX MOLINARI BORN Santa Rosa, California, 1990 EDUCATION BFA Studio Art, School of the Art Institute of Chicago, 2012

Dual Degree MA/MFA, History and Theory of Contemporary Art/Photography, San Francisco Art Institute, 2015

My work explores the relationship that trust plays between the artist, artwork, and viewer. I use a variety of mediums including photography, performance, and sculpture to fulfill a natural inclination toward uncertainty. I do fun things, I fail, I tell lies, and I experiment. Too often the world feels certain and concrete. I have always preferred the opposite.

3D Anamorphic Artistâ&#x20AC;&#x2122;s Desk 2013 Archival inkjet print 60 x 35 inches

ARAM MUKSIAN arammuksian.com BORN Providence, Rhode Island, 1982 EDUCATION BA Visual Art and Education, St. Lawrence University, 2004

MFA Photography, San Francisco Art Institute, 2014

For the past few years, I have befriended and photographed people living off the grid along the waterways of the San Francisco Bay Area. Fishing, growing food, making wine, building shelters, and salvaging scrap metal, the people in these photographs sustain themselves in large part through self-reliant practices on the edge of urban society. I am interested in experimenting with the found environment both to appreciate the viability of cast-off materials and to create unforeseen visual experiences.

Mike 2012 Digital chromogenic print 24 x 18 inches

ASHLEIGH ELISABETH NORMAN ashleighnorman.com BORN Portland, Oregon, 1984 EDUCATION BA Studio Art/Art History, California State University Channel Islands, 2011

MFA Painting, San Francisco Art Institute, 2014

History. High fashion. Decadence. Sin. I paint my obsessions so I am not consumed by them.

Double Vey 2013 Oil on canvas 38 x 36 inches

TARA GLYNN O'SIOCHAIN taraosiochain.com BORN San Francisco, California, 1967 EDUCATION BA Studio Art, Minor in Communications, Mills College, 1989

MFA Painting, San Francisco Art Institute, 2014

I am inspired by technologies that allow us to view microscopic spaces previously unseen. This work is the result of a transaction between traditional painting/drawing mediums and digital-imaging tools. By scanning small areas of handmade brush and ink drawings, the digital information becomes another medium to work with. I am able to magnify, explore, and extract otherwise unknowable spaces, manipulate scale and context, and generate new structural formations and meaning in printed output.

Epineurial Field 2014 Five digital inkjet prints on chiffon fabric, acrylic tubing, and fishing line Dimensions variable

Nodal Scan 2014 Digital inkjet print on chiffon fabric 69 x 44 inches

DUO PENG duopengphoto.com BORN Anhui, China, 1986 EDUCATION BA Business and Management, Maharishi University of Management, 2010

MFA Photography, San Francisco Art Institute, 2014

I have created projects on views, movements, and areas that are related to my living environment and cultural background. Instead of using the power of an artist’s statement—which has the power to be misleading and affect the audience’s perspective of the work—to deliver my personal views, I am presenting only the “insignificant” moments and scenes, so that whatever the audience understands about the work may be based on their own perspectives.

Migration (Skyline from Tibet to Beijing) 2013 Archival inkjet print 32 x 48 inches

Migration (Song Village, Beijing, China) 2013 Archival inkjet print 32 x 48 inches

Migration (Sunset, San Francisco, California) 2013 Archival inkjet print 32 x 48 inches

FRANCISCO PINHEIRO francisco-pinheiro.com BORN Lisbon, Portugal, 1981 EDUCATION BFA Painting, University of Lisbon, 2005

MFA New Genres, San Francisco Art Institute, 2014

Picture getting in a car and driving in a single direction until the gas runs out窶馬o map, no plans, the journey is open to experimentation. This is how I like to think about my art practice. Working in a variety of media, I seek discovery and surprise through material and conceptual improvisation. I offer the viewer an opportunity to re-experience space and time, as well as to explore notions of journey, intimacy, and displacement.

When the Knife Sharpener Is Around, It's Going to Rain 2013 Wooden structure and sound (durational) Dimensions variable

SPENCER PRODUCT spencerproduct.com BORN Normal, Illinois EDUCATION BFA Studio Art, Illinois State University

MFA Design and Technology, San Francisco Art Institute, 2014

ANGELA PRYOR angelapryor.com BORN Kingsville, Texas, 1964 EDUCATION BFA Painting, San Francisco Art Institute, 2008

MFA Painting, San Francisco Art Institute, 2014

I appropriate iconic paintings from art history whose familiarity creates an appearance of safety. Into these appropriated images, I insert a single protagonist, Betina Tarnopolsky, a 15-year-old adolescent kidnapped by the Argentinian military in 1976. Through the pull of apparently known and safe images, I seek to leave the spectator with not just an uneasy, disturbed feeling, but with a sense of having been moved empathically and ethically.

Betina Gioconda 2013 Oil on canvas 60 x 40 inches

REAGAN D. PUFALL reaganpufall.com BORN Bismarck, North Dakota, 1987 EDUCATION BA Visual Arts, Regis University, 2011

MFA Photography, San Francisco Art Institute, 2014

In my work, young mantises are placed in distinctly foreign environments in which their natural mimicry becomes a point of contrast. Unable to escape this artificial landscape, they wander lost. The accompanying portraits portray a distinctly alien figure in such a way as to encourage anthropomorphization. Their illusionary gaze meets that of the viewer, forcing them to question the creaturesâ&#x20AC;&#x2122; humanity or be repulsed by their foreign appearance.

Phyllocrania Paradoxa 2013 Archival inkjet print 30 x 20 inches

JAKE REED artofjakereed.com BORN Denver, Colorado, 1987 EDUCATION BFA Painting, University of Colorado, 2010

MFA Painting, San Francisco Art Institute, 2014

Get Fat or Go Bald Trying 2013 Acrylic on panel 7 x 5 inches

STEPHANIE ROHLFS stephanierohlfs.com BORN San Jose, California, 1984 EDUCATION BFA Painting/Drawing, Tyler School of Art, 2005

MFA Painting, San Francisco Art Institute, 2014

My recent work explores the imaginative possibilities of a world where shapes and objects interact with each other independent of anthropocentric hierarchies. This body of work is animated by a single question: What experience might these objects and materials have outside of human interference? Following this question, I orchestrate enclosed worlds where â&#x20AC;&#x153;thingsâ&#x20AC;? are free to interact and form new object-oriented relationships.

Shelf 2013 Gouache on paper 30 x 22 inches

Untitled 2013 Wood, paint, false eyelashes, gold leaf, plaster, and paper 4 x 6 x 4 inches

ANNA ROSE annamrose.com BORN Falmouth, Massachusetts, 1982 EDUCATION BA Psychology, Wesleyan University, 2004

MFA Painting, San Francisco Art Institute, 2014

Through the rich cultural, historical, and psychological associations with hair, whether worn on the body, overwhelming the body, or manipulated by the body, this work reexamines familiar tropes of femininity, memory, and childhood. Subverting the fetishization and mythologization of hair, the work provides a location for the acting out of the simultaneous attraction, revulsion, and fear often ascribed to the (female) body, on the edge between the beautiful and the unkempt, the composed and the fearsome.

The Dunes 2013 Archival inkjet print 20 x 30 inches

Pony 2013 Video 4:12-minute loop

DARA ROSENWASSER cargocollective.com/dararosenwasser

BORN AncĂłn, Panama, 1973 EDUCATION AAS Commercial Photography, Seattle Central Creative Academy, 2006; BFA Photography, Seattle University, 2012

MFA Photography, San Francisco Art Institute, 2014

Through ritualistic manipulation of materials, primarily textiles, I attempt to embed the memory of an action in the objectâ&#x20AC;&#x201D; make solid that which is perceived as being immaterial. The apparent impossibility of presence and absence co-existing through space and time leads me to use performative photography as my critical practice. I combine photographic processes with textiles that I tear, stitch, and mark. These marks are evidence of that which appears to be missing.

Trace 2013 16mm film still 1:11-minute loop

NATHAN ROSQUIST nathanrosquist.com artmonastery.org BORN Boulder, Colorado, 1982 EDUCATION BA Chinese, University of Colorado, 2004; MBA Community Economic Development, Bainbridge Graduate Institute, 2008

MFA New Genres, San Francisco Art Institute, 2014

In my work, contemplative practice precedesâ&#x20AC;&#x201D;and proceedsâ&#x20AC;&#x201D;from artistic practice. With the goal of seeing reality and possibility more clearly, I make works of sound, text, code, installation, sculpture, drawing, and performance. On a larger scale (for example, in the Art Monastery Project, a 501(c)(3) nonprofit arts organization), I collaborate on social sculpture, ritual theater, and long-form performance art.

Robotic Harpsichord 2013 Harpsichord, solenoids, microcontroller, and other electronics Dimensions variable

BHARAT SHANKAR BORN San Francisco, California, 1985 EDUCATION BA Psychology, University of San Francisco, 2011

MFA Film, San Francisco Art Institute, 2014

As a filmmaker, I focus on making work that revolves around my obsessions. This can range from projects that deal with maniacal toasters that want to consume large amounts of silverware to the private lives of mad scientistsâ&#x20AC;&#x2122; assistants. In any case, I find the format of the short film to be ideally suited to illustrate these stories.

The Madness of Dr. Orlok 2013 HD video 70 minutes

PATTI SINGER pattisingerart.com BORN Colorado Springs, Colorado EDUCATION BFA Painting, University of Colorado, 1976; 5th-Year Teacher Certification, Massachusetts College of Art and Design, 1985; Post-Baccalaureate Work, School of the Museum of Fine Arts, 1988â&#x20AC;&#x201C;1993

MFA Painting, San Francisco Art Institute, 2014

My practice critiques our cultureâ&#x20AC;&#x2122;s civilization process. In my assemblage and installation work, I combine familiar childhood belongings, beloved characters, and fairy tale references utilizing a variety of traditional art materials, found ephemera, and repurposed objects. My intent is to raise questions about the veracity, reliability, and fairness of the sociopsychological standards and mores of the cultural conditioning we are subjected to as children.

The Private Room (Installation detail) 2013 Watercolor on paper, mixed media 216 x 288 x 84 inches

MAYA SMIRA mayasmira.com BORN Haifa, Israel EDUCATION BFA Photography, Minshar for Art, Tel Aviv, 2012; BA Arts and Humanities, Open University of Israel, 2013

MFA New Genres, San Francisco Art Institute, 2014

I was born and raised in Haifa, Israel, in the mountains close to the sea. I was always engaged with social ideas through the use of photography, dance, and varied forms of art. After my military service, I traveled the world, exploring cultures and places in the Far East, Latin America, and Europe. My work is also deeply involved with larger global issues and events. Being from Israel, one facet of my work is politically driven, challenging issues of war, borders, and living under a constant state of emergency. Another line of my work is more experimental, humorist, and colorful, dealing with philosophical questions about human nature and challenging dominant concepts within the art historical canon. Atlas 2014 Video installation Dimensions variable; loop

Untitled Destruction 2014 Interactive video Dimensions variable; loop

CHRISTIE GINANNI STEPAN christieginanni.com BORN Palo Alto, California, 1983 EDUCATION BA Studio Art, The Colorado College, 2005

MFA Printmaking, San Francisco Art Institute, 2014

Deriving from my own walking practice, my work occurs as a residue of gestures, a path, formally re-inscribed on various physical fields. In various ways, I explore ideas of memory, scale, the body, and location. Spanning landscape and interior environs, the inscribed path may be used to find oneâ&#x20AC;&#x2122;s way back to where one began, or to some other place altogether, encouraging a wandering as opposed to arrival.

Forearm Space 1 2013 Latex paint and chalk on vinyl 50 x 114 inches

Boundary (f)or Path 2013 Mixed media Dimensions variable

MOONYOUNG SUNG moonyoungsung.com BORN Seoul, Korea, 1985 EDUCATION BFA Korean Painting, Ewha Womans University, 2008; MFA Korean Painting, Ewha Womans University, 2011

MFA Painting, San Francisco Art Institute, 2014

My work conveys an imaginary resting place to find peace and to get away from reality through relationships with animals. Through the healing process of the constant exploration of personal paradise, I can regain a peaceful and relaxed mind and recharge myself with the power to pursue life further. As an imaginary, created environment, patterned space inspired by nature embodies a metaphor with which to invigorate myself.

Shadow of Paradise 2013 Watercolor and oil crayon on paper 30 x 22.5 inches

RAQUEL TORRES-ARZOLA raqueltorresarzola.com BORN San Juan, Puerto Rico, 1976 EDUCATION BA Puerto Rican and Caribbean History, University of Puerto Rico, 1999; Master’s in Graphic Arts, Atlantic University College, 2009; PhD Candidate, Puerto Rican and Caribbean History, Center for the Advanced Studies of Puerto Rico and the Caribbean

MFA Photography, San Francisco Art Institute, 2014

My practice as an artist starts with a question/idea, and it is nourished with theoretical research related to linguistics, gender constructions, and power/public/domestic relations. The visual experiences that I create are geared toward exposing the viewer to reflect on their own system of beliefs and values. I position the art object not as a final result, but as the starting point of a process that challenges ways of looking, organizing, acting, and thinking.

Rajel en la ciudad (Rajel in the City) (from the series Raquel/Rajel) 2013 Lambda print 50 x 70 inches

Untitled (Connections and Disconnections between the “White Cube,” the Public Space, and the Artist) 2013 One-hour performance stills Dimensions variable

LING-CHIA TSAI lingchiatsai.com BORN Taipei, Taiwan EDUCATION BA Philosophy, National Taiwan University, 2010

MFA Painting, San Francisco Art Institute, 2014

Painting is a durational activity that documents my thoughts and sentiments in a coded but honest way. It is a visual diary serving as a psychic archive that is not yet complete. The process allows me to digest feelings within, and respond to life in a communicable visual format. My conviction is that painting has the ability to transform the manifold internal into manifest creation.

Untitled 2012 Oil on canvas 30 x 40 inches

Untitled 2012 Oil on canvas 30 x 30 inches

THOMAS VAN HOUTEN thomasvanhouten.com BORN Fremont, California, 1965 EDUCATION BFA Sculpture, San Francisco Art Institute, 1989

MFA Sculpture, San Francisco Art Institute, 2014

The rational systems by which the world is ordered and quantified become the matrix for entrapment. How people define themselves and their environment creates the structure of their beliefs. My work explores mapping, measuring, and defining as ways to put the world into terms we can understand. Iâ&#x20AC;&#x2122;m interested in using literal structures, mechanisms, and devices of restraint to illustrate a desperate attempt to control our tenuous physical existence and our fear of the infinite.

Sarcophagus Scale 2013 Welded steel and leather 40 x 78 x 33 inches

LORENA PEREZ VILLERS lperezvillers.com BORN Mexico City, Mexico, 1983 EDUCATION BArch, Universidad Iberoamericana, Mexico, 2007; Fine Arts and Foundation Certificate Program, Parsons The New School for Design, 2009

MFA Painting, San Francisco Art Institute, 2014

My work intends to represent a way of bringing back, with subtle actions, possibilities that our minds have forgotten. As a trained architect, I am interested in how space can be used, appropriated, and revealed, with an additional element that explores the human capacity for creating and reinventing itself through the inevitable passing of time. The ephemeral nature of the pieces reminds us of the possibilities we have left behind.

En Concreto 2013 Sheetrock and cement 96 x 48 inches

Love Chair. MissSillas Project 2014 Plastic raffia Dimensions variable

#ANDREWANANDAVOOGEL andrewvoogel.com BORN Los Angeles, California, 1983 EDUCATION BA Postcolonial Literature, University of California, Santa Cruz, 2005

MFA Photography, San Francisco Art Institute, 2014

“A one-word name is an anarchist’s name.” –Kimsooja

One at a Time 2013 Archival pigment print 5 x 3 inches

NA YOUNG WOO woonayoung.tumblr.com BORN Busan, Korea, 1989 EDUCATION BFA Painting, The Pennsylvania State University, 2011

MFA Painting, San Francisco Art Institute, 2014

Desire is real.

Stealing a Peach Farm 2014 Graphite and charcoal on paper 41 x 66 inches

Candy King 2011 Oil on canvas 45 x 38 inches

ALEX ZIV alexziv.tumblr.com BORN San Francisco, California, 1988 EDUCATION BFA Painting, San Francisco Art Institute, 2012

MFA Painting, San Francisco Art Institute, 2014

Speaking Two Different Languages 2014 Pen and ink on paper 44 x 30 inches

Javier Arbizu National Archive of South Sudan 2011 Photograph Courtesy of the artist

A CHROMOPHILIAC’S SEND-OFF THIS YEAR, LIKE ALL OF YOU, THE LIST AND ITS METAPHORS GLOW LIKE TECHNICOLOR.

1. “It suffices that color appear, that it be

6. “If it ever was fruitful, the language/

11. “We treat desire as a problem to be

there, that it be inscribed like a pinprick

painting analogy, when faced with the

solved, address what desire is for and

in the corner of the eye… like an appari-

problem of color, becomes untenable…

focus on that something and how to

tion—or a disappearance, for color is like

Color is not zero meaning; it is excess

acquire it rather than on the nature and

a closing eyelid, a tiny fainting spell.”

meaning through instinctual drive.”

sensation of desire, though often it is

–Roland Barthes on Cy Twombly

–Julia Kristeva, “Giotto’s Joy,” Desire in Language

the distance between us and the object

2. “And the sky was made of amethyst,

of desire that fills the space in between with the blue of longing. I wonder some-

and all the stars looked just like little

7. “No big animal sees far into the

times whether with a slight adjustment

fish… And the sky was all violet. I want

ultraviolet… Many birds and insects have

of perspective it could be cherished as a

to give the violet more violence… ”

evolved to see ultraviolet wavelengths,

sensation on its own terms, since it is as

–Hole

but they only live for a short time, dying

inherent to the human condition as blue

before the damage becomes significant.”

is to distance? If you can look across the

–Simon Ings, The Eye: A Natural History

distance without wanting to close it up,

3. “Something black and heavy dropped between them like the smell of velvet.”

if you can own your longing in the same

“It was the year he began to wonder

8. “Colors are the deeds and

way that you can own the beauty of that

about the noise that colors make. Roses

sufferings of light.”

blue that can never be possessed?”

came roaring across the garden at him.”

–Johann Wolfgang von Goethe

–Rebecca Solnit, A Field Guide to Getting Lost

“‘ …I will never know how you see red and you will never know how I see it.

9. “The blue we breathe, I fear, is

But… our first movement is to believe in

what we want from life and only

12. “Color has not yet been named.

an undivided being between us… ’”

find in fiction.”

But then nothing has. This is why it is

–Anne Carson, Autobiography of Red

–William Gass, On Being Blue

that things happen, in art history

4. “I was going into the yellow.

10. “What a horrible thing yellow is.”

Dead in the center.”

–Edgar Degas

and elsewhere.”

–Joseph Conrad’s Marlow in Heart of Darkness

–Stephen Melville after Jacques Derrida 13. “[The books] glowered, when I looked at them, with brighter colours, a profounder significance. Red books, like

5. “There are connoisseurs of blue

rubies, emerald books; books bound in

just as there are connoisseurs of wine.”

white jade; books of agate, of aquama-

–Colette

rine, of yellow topaz; lapis lazuli books whose colour was so intense, so intrinsically meaningful, that they seemed to be on the point of leaving the shelves to thrust themselves more insistently on my attention.” –Aldous Huxley, The Doors of Perception

14. “At last [Bergotte] came to the

18. “Now that you’ve mastered this game

23. “Matte black in art is / not matte

Vermeer, which he remembered as more

you will be told ‘Point to a somewhat

black; / Gloss black in art is gloss black /

striking, more different from anything

reddish green.’ Assume there are two

Black is not absolute; / There are many

else he knew, but in which, thanks to the

cases: Either you do point to a colour

different blacks.”

critic’s article, he noticed for the first

(and always the same one), perhaps to

–Ad Reinhardt

time some small figures in blue, that the

an olive green—or you say, ‘I don’t know

sand was pink, and, finally, the precious

what that means,’ or ‘There’s no such

24. “Whiteness is the most conceptual

substance of the tiny patch of yellow

thing.’ We might be inclined to say that

color… it does not interfere with your

wall. His dizziness increased; he fixed his

the one person had a different colour

thoughts.”

gaze, like a child upon a yellow butterfly

concept from the other; or a different

–Yoko Ono

that it wants to catch, on the precious

concept of ‘…ish.’”

little patch of wall. ‘That’s how I ought to

–Wittgenstein, Remarks on Colour

have written,’ he said. ‘My last books are

25. “Dance the orange. Who can forget it?... nearly self-drowned in its own

too dry, I ought to have gone over them

19. “Color is enslaved by the line that

sweetness,

with a few layers of colour, made my

becomes writing.”

yet it overcomes. You have possessed it;

language precious in itself, like this little

–Yves Klein

become its own luscious completeness.”

patch of yellow wall... ’” –Marcel Proust, In Search of Lost Time

–Rainer Maria Rilke, Sonnets to Orpheus 20. “Dust will be a kind of color.” –Marcel Duchamp

15. “Orange is young, full of daring, But

26. “I make the yellow to the pies and bang the spice for cake.”

very unsteady for the first go round.”

21. “To attend to colour, then, is, in part,

–Jimi Hendrix, “Bold as Love”

to attend to the limits of language.”

–Emily Dickinson

–David Batchelor 16. “ …every bit of blue is precocious.” –Gertrude Stein, Tender Buttons

22. “What we wanted to see… was that wall of vibrant moving color so we could

17. “In order to use color effectively it

experience the momentary redemption

is necessary to recognize that color

of its ahistorical, extralinguistic, sensual

deceives continually.”

embrace—that instantaneous, ravishing

–Josef Albers

intimation of paradise that confirmed our

AS ALWAYS, LOOKING FORWARD… CLAIRE DAIGLE, Chair, Master of Arts Department

lives in the moment.” –David Hickey on watching cartoons

ELANA BERNNARD EDUCATION BFA Painting/BA Art History, State University of New York, New Paltz, 2012

MA Exhibition and Museum Studies, San Francisco Art Institute, 2014

PEDAGOGICAL INTENTIONS OF THE MUSEUM/PEDAGOGICAL PRODUCTION OF PRODUCING SUBJECTS

to students as they are considered merely empty depositories to be filled. The concept of banking knowledge illustrates the scope under which audience members are looked upon as a singular mass—all are assumed to

Wall texts, or didactics, inside museum

receive the message in the same way. By

exhibitions are demarcated as the objects

constricting the information that viewers are

that are used to perform pedagogical com-

allotted to contemplate and understand art-

munication to viewers. Wall text does not

work, museums act against their own peda-

often function as an effective communicative

gogical intentions as institutions of education.

outreach to provoke a viewer’s own subjectiv-

Through textual analysis of the usage of wall

ity; it is more common for museums to for-

text inside museums that employ the bank-

mulate these texts in an authoritative voice

ing educational method, it can be seen that

that renders viewers as passive objects. In

the texts do not operate educationally, but

search of higher attendance numbers and in

rather as fascinations. From Jean Baudrillard,

favor of entertainment rather than education-

fascinating narratives maneuver just as adver-

al value, museums today frequently simplify

tisements, only permitting a singular mean-

these texts, omitting crucial information and

ing, while constricting viewers’ processes of

accessibility that has the potential to engen-

meaning making and understanding. Fascina-

der viewers’ meaning-making processes and

tions in museums promote entertainment

critical consciousness.

value and neutralize educational value.

The pedagogical issues found inside museum

In contrast, I propose an open and subjective

galleries run parallel to Paulo Freire’s theory

approach to writing wall texts. These texts

of the flawed “banking” educational method.

do not fascinate, but rather create an open

To Freire, banking knowledge is detrimental

dialogue of endless connotations and meaning. With the use of intransitive language, viewers will gain the ability to analyze and comprehend artwork through multiple perspectives by positioning themselves in conversation with the artwork, the artist, and the museum. An open and endless dialogue does not constrict meaning or viewers, it actually produces numerous producing subjects. This liberation is a way for museums, as mediators, to use banking as an investment in future visitors to activate them as critically thinking beings as they view artwork, while perpetuating the life of the artwork, and even educating the museum through coinvestigation. Banking as an investment can resonate beyond the exhibition walls into all facets of the world at large.

Elana Bernnard Text 2014

HONEY UNDER THE TONGUE: PERFORMING INTIMACY IN THE RELATIONSHIP BETWEEN ARTISTS AND AUDIENCES As a performative writer and eater, I create environments where artists and audiences can encounter each other. This thesis involves research on artists who allow themselves to be in vulnerable situations, making room for authentically intimate moments with partici-

APRIL MARIE DEAN aprilmariedean.com BORN Columbus, Georgia EDUCATION BFA Visual Art, Columbus State University

pating viewers. First, the invitation of the artist (much like a love letter) reveals tangible desire and separation. The ensuing encounter is a dance-like balance of vulnerability and control, and the emotional or physical closeness between bodies can manifest as

Dual Degree MA/MFA, History and Theory of Contemporary Art/Painting, San Francisco Art Institute, 2014

impermanent stainsâ&#x20AC;&#x201D;though even the traces vanish. Through the works of Shizuka Yokomizo, Julie Tolentino, and Markuz Wernli, I investigate how intimacy reveals itself as an edible, drinkable, consumable thing within the shared experiences of performance.

April Marie Dean Honeyed, Study I 2013 Video still

April Marie Dean Tell Me, So That I Might Taste It 2013 Performance Duration variable Photographed by Mido Lee

SHARRISSA IQBAL BORN Las Vegas, Nevada, 1989 EDUCATION BA Art History, University of Southern California, 2011

MA History and Theory of Contemporary Art, San Francisco Art Institute, 2014

FORMS OF REALITY: PERCEPTUAL AND SPIRITUAL DIMENSIONS OF JOHN McCRACKEN’S SCULPTURE

of a specifically Californian style. Through an analysis of his artwork, statements, and notes from his personal sketchbooks, my project considers how McCracken’s sculptural

With his sleek, reflective sculptures, John

practice complicates traditional definitions of

McCracken sought to create visual phenom-

Minimalist art.

ena that could bridge the external, physical world with the internal realms of subjectivity

From the theories that shaped his artistic

and experience. His belief in the power of an

perspective to the materials and processes

abstract physical object to transcend its own

used to materialize his ideas, the develop-

spatial and temporal dimensions sets his prac-

ment of McCracken’s work sheds light on

tice apart from the work of other contem-

the specific art historical and cultural context

poraneous Minimalist sculptors who focused

from which California Minimalism emerged

on literal and objective qualities. In the early

and flourished. McCracken’s metaphysical

1960s, in both New York and California,

and spiritual concerns are situated within

artists simultaneously experimented with

a broader lineage of West Coast artists

Minimalist sculpture, yet the different out-

whose interests transcended the boundaries

comes that characterize artists on opposite

between different media and across artistic

coasts attest to divergent cultural atmo-

movements. Examining the correlation

spheres and influences. While McCracken

between the aesthetics and ethos of

considered himself aligned with New York

Los Angeles Hard Edge Abstract painting

Minimalists, his work has undeniable ties

from the 1950s and McCracken’s Minimalist

to formal and ideological characteristics

sculpture from the 1960s, I explore the development and continuation of an intrinsically Californian version of postwar geometric abstraction. McCracken’s sculpture combines Minimalist austerity with California Modernist idealism, using physical forms to engage viewers’ internal world of subjective perception and experience. Equally fascinated by the ancient past and the distant future, the artist rendered basic geometric forms out of Space Age materials. From his contemplation of the eternality and impact of art, McCracken contributed an idiosyncratic and utopian vision of the future.

John McCracken in his studio, Costa Mesa, California, 1966 Photographed by Frank J. Thomas Courtesy of the Frank J. Thomas Archives

FACING THE EFFACED PHOTOGRAPHS: INDELIBLE IGNORANCE OF ILLICIT SUBJECTS IN HISTORY

and Akram Zaatari rediscovers an alreadyscratched negative of the photograph Baqari’s Wife and exhibits it as artwork to the public. Despite taking different forms, both art projects share an understanding of photography:

As a form of historical representation,

at the price of eliciting powerful emotional

photography has functioned as a powerful

reactions, a historical photograph marks a

testimony. However, its claim on “truth” can

slippage between its visuality and represent-

be changeable depending on a situation,

ability. By examining the effects of efface-

and the claim itself appears to be based on

ment on the differently situated photographs,

the affectionate space shaped between the

this project opens up opportunities to rethink

figures in the photographs and the viewer’s

photography’s claim on the historical record.

attachment to them. The viewer’s emotional identification with the subjects of the pho-

SOYI KIM BORN Jeonju, Republic of Korea, 1987 EDUCATION BA Art Studies, Hongik University, 2012

MA History and Theory of Contemporary Art, San Francisco Art Institute, 2014

tographs, therefore, oftentimes overshadows what could have been learned about the photographs as well as the specific historical moments. Through some insightful revisiting of these photographs by artists, it turns out that sometimes these photographs need partial effacement, ironically, in order for the obscured images and stories to be unveiled. In this project, I focus on two different genres of photography with effacement either created or discovered by artists: Pavel Maria Smejkal erases human figures from the iconic “Napalm Girl” photograph in 1972, Vietnam;

Akram Zaatari Baqari's Wife 2007 7.5 x 11.4 inches In the archive of Hashem el Madani’s Studio, Shehrazade, Saida, Lebanon, 1957 Photographed by Hashem el Madani © Akram Zaatari | Courtesy of Hashem el Madani and Arab Image Foundation, Beirut

CLÉA MASSIANI BORN Aix-en-Provence, France, 1989 EDUCATION Preparatory Classes, Center Madeleine Daniélou, 2008; BA History and Art History, Sorbonne University-Paris IV, 2010; MA History (Early Modern), Sorbonne University-Paris IV, 2012

MA Exhibition and Museum Studies, San Francisco Art Institute, 2014

AN ASSEMBLAGE OF CURIOSITIES: EXPLORATION IN THE MUSEUM OF JURASSIC TECHNOLOGY

about superstition, the study of African bats,

It is a “museum about museums!”

In short, the MJT interrogates institutional

or even cat’s cradle, offers everybody a chance to relate to the art in one way or another.

meaning by attempting to find institutional The Museum of Jurassic Technology (MJT)

“origins.” A general expectation of what a mu-

is a unique museum located in Culver City,

seum is and does is turned on its head, and

Los Angeles.

many visitors to the MTJ feel disappointed and confused. But it is precisely how this

This “meta-museum” is, essentially, a metaphor

museum responds to the preconceived idea of

of what it means to be a museum.

what a museum “should be” that makes it provocative by destabilizing institutional concept

The MJT creates its own narrative and

and praxis. Indeed, this place is resurrecting

provides “different” knowledge by employing

the model of a very traditional wunderkammer,

a very strictly traditional background to em-

or cabinet of curiosity, and creates a space

phasize issues that museums are facing now.

of critique by exaggerating its form and

It displays objects, art pieces, and discover-

forcing the visitor to ask: What do we want

ies that are related to a certain vision of the

the museum to be?

world: an anti-elitist and accessible perception. The broad content, displaying exhibitions

Could the muséal intervention at the MJT provide a generative response to traditional practice? How does the destabilized form of the MJT impact viewer experience and upend visitor expectations? By analyzing the curatorial assemblage and interrogating the MJT’s exhibition strategies, the thesis seeks to understand the expectations of the visitor in the context of the museum and why the MJT opens up a broader dialogue by adjusting institutional authority to impact viewer empowerment.

Front door of the Museum of Jurassic Technology, Culver City, Los Angeles 2013 Photographed by Cléa Massiani

WALLS HAVE BEEN BUILT, THEN WHAT IS HAPPENING INSIDE TODAY?

philosophy of TAM can be understood. By examining its financial and academic (scholarly) responsibility and its collection, I discuss the dilemma of trying to be successful in both

Several private museums have been con-

promotional and academic spheres. Through

structed during the past decade in China,

detailed readings of exhibitions in the

accompanied by the nation’s economic trend

TAM, the thesis will shed light on the ways

of privatization. Private museums, especially

in which the museum functions to raise

those devoted exclusively to contemporary

the public’s awareness of, and level of

art, have been a novel concept in China

engagement with, contemporary art to play

during the past decade. Today Art Museum

a role in the development of the Chinese

(TAM), the first nonprofit and non-

contemporary art world, and to canonize

governmentally run art museum in China, is

established artists while promoting new

taken as the primary example in my thesis

artists and their exhibitions.

LING MENG BORN Qingdao, China, 1989 EDUCATION BA Sociology, Zhejiang University, China, 2012

MA Exhibition and Museum Studies, San Francisco Art Institute, 2014

to examine the appropriate development strategy for art museums of its kind within

By taking into consideration the private spon-

a Chinese context.

sors’ intention of consolidating cultural capital and consequential benefits, my research also

Through an examination of TAM’s architec-

tries to rethink the distinction between public

ture, its relationship with the neighborhood

and private, where the distinctions between

and community, and the way it displays

these two obscure their complexities.

artwork in the public space, the playful

Today Art Museum (TAM) Building No. 2 2013 Photographed by Ling Meng

JESSICA MONTGOMERY EDUCATION BFA, Concordia University, 2010

MA History and Theory of Contemporary Art, San Francisco Art Institute, 2014

DIRTY PRETTY THINGS: CONFRONTING PLEASURE IN FASHION AND ENVIRONMENTAL SUSTAINABILITY

unsustainable practices and resulting precarious future, we can begin to move toward a more comprehensive understanding of what it could mean to live sustainably. At the heart of this investigation is an acknowledgment

Taking the 2010 fashion editorial

of the pleasures of excess. In allowing for a

Oil & Water by photographer Steven Meisel

space that is not quite real, or perhaps more

as a leaping-off point, this thesis explores

than real, fashion not only celebrates spaces

the proposition of environmentally sustainable

of ambiguous value, but also recognizes this

fashion. Fashion often draws on the language

space as productive to imaginative becoming

of theater to create space that hovers

and alternative modes of being. Paradoxi-

somewhere between the tangibly “real” and

cally, this is a space necessary to imagine a

the imaginatively “not-real” as a space of

future of sustainable behaviors. By refusing

creative becoming; opening this space

to deny irrational pleasures and “take things

up to include environmental sustainability

seriously,” is fashion exacerbating an already

becomes a question of possibility. Both

dire situation? Or, by calling attention to the

fashion and sustainability are concerned with

very systems of value that have created our

the temporal, with ideas of value as defined

present situation, does fashion perhaps offer

by time. By deconstructing the ways in

a space in which to confront our desires, and,

which contemporary high fashion embraces

through this act of confrontation, begin to

hedonism while grappling with its own

live our present as imagined futures?

QUEERING THE DREAM: IMMIGRANT ACTIVISM AND DEFENDING THE RIGHT TO DREAM DIFFERENTLY

Queering the Dream looks to the art and visual culture produced in support of the DREAM Act and by undocumented youth activists more generally, to transform the

This project began with an inquiry into the

dream into a reflection of their actual desires.

way desire is deployed as a nation-building

In deconstructing (decolonializing) the dream

strategy that reinforces normative institu-

in order to organize a campaign that reflects

tions and unsubstantiated power through its

their non-normative social formations and

citizens. Yet, we find that in a contemporary

varying subjectivities, we begin to see the

globalized world, the state of the nation

visibility of not only queer dreams but the

is undergoing a process of destabilization.

dreams of queers (colloquially referred to as

As the flows of capital become evermore

“undocuqueers”). Working from Alfredo de

efficient, the borders of these capitalizing na-

Batuc’s image of a dream that is haunted by

tions become blurred and those in power of

the identity politics of the Chicano move-

capital become fewer and fewer. So, then, in

ment, to the ghostly silhouetted figures of

what ways does desire still work to produce

the early immigrant activist logos and images,

loyal subjects, as it were, and in what ways,

to the radically colorful and confronting

historically, has desire been proliferated in

portraits of undocuqueer artists, this proj-

the service of a national identity?

ect hopes to trace the way the immigrant’s

JENNIFER M. MORENO BORN San Diego, California, 1988 EDUCATION BA Art History/Criticism, University of California, San Diego, 2011

MA History and Theory of Contemporary Art, San Francisco Art Institute, 2014

dream seeks to become fully actualized and Queering the Dream focuses on the way de-

the nation’s formative agenda disassembled.

sire is manipulated to construct the citizen’s

How can the dream be used as a radical tool

other, or to figure the citizen’s antithesis, the

for queerness, instead of a morally abject

immigrant (as well as the act of migration

political entrapment?

itself). The dream of immigrants, throughout American history, has become a bastardized mythology that is used to dangle the “hope of a better life” to those seeking opportunity or refuge. The immigrant’s desire, as manifested in the American dream, is then manipulated to become that which marginalizes and disempowers them in order to uphold the citizen’s “naturalized” status.

DREAM activists 2010 Protest in Downtown Los Angeles urging legislative leaders to pass the DREAM (Development, Relief, and Education for Minors) Act Courtesy of Ella Baker Center for Human Rights

101

RHONDA PAGNOZZI BORN Providence, Rhode Island EDUCATION BA Psychology/Community Development, San Francisco State University, 2001; Certificate in Design/Fine Arts, The Art Institute of Boston, 2004

MA Urban Studies, San Francisco Art Institute, 2014

EXPERIMENTAL UTOPIAS: AN INVESTIGATION INTO TACTICAL URBANISM THROUGH THE WORK OF THE BETTER BLOCK PROJECT

own resources to effectively design their own cities. My project examines the strategies and tactics that determine the ultimate fate of a cityscape. I explore whether citizens can enter into this practice and contribute to shaping cities that promote justice and

My thesis examines citizen-led projects that

resiliency for urban dwellers. In my analy-

emerge in the urban setting and the ways

sis, I address the broader issues associated

in which these projects impact the lives of

with so-called “creative place-making.” These

city dwellers. Using ethnographic methods,

issues include: access and privilege, gentri-

I evaluate multiple case studies (including

fication and displacement, the role of civil

Project Row Houses) through the work of

disobedience in urban planning, and some of

The Better Block Project. The Better Block

the consequences associated with co-opted

Project began in 2010 as a guerrilla art show

guerrilla interventions. After analyzing several

in an abandoned theater in Dallas, Texas. The

cases, I outline specific traits that are com-

show was the precursor to an unsanctioned

mon among projects that have exhibited liv-

block party that sparked substantial revital-

ability and resiliency in their neighborhoods.

ization in a previously blighted neighborhood.

In this discussion, I propose a framework for

The Better Block Project has since been

urban planning that encompasses citizen-led

absorbed into a national program designed to

projects as the primary data source for guid-

guide other communities on how to identify

ing large-scale urban infrastructure.

their neighborhood needs and to use their

We Are the People (Lightbox installation on view at Project Row Houses) 2003 Project Row Houses is a program that began as an unsanctioned art show displayed on the facade of an abandoned block of row houses in Houston, Texas. Project Row Houses has grown into a thriving community that includes 40 locally owned

residences, 7 houses for young single mothers, 12 artist exhibition galleries, and multiple low-income residential and commercial spaces. Photographed by Rick Lowe | © Sam Durant, 2003 Courtesy of Project Row Houses

RACHEL RALPH BORN Big Bear Lake, California, 1986 EDUCATION AA Art, Front Range Community College, 2009; BA Art History, Colorado State University, 2011

SKULL FUCKED: POWER AND MASCULINITY IN SKATEBOARD GRAPHIC DESIGN

This thesis works to historically situate Fish’s graphics and the posse of “Silly Pink Bunnies” that have come to embrace and identify with Fish’s worldview in order to appreciate how

The history of skateboarding is the history of

the re-styling of skateboarding’s own limits

young people testing their limits. These limits

has opened the subculture, which was once

are not just physical—but often ideological

the provenance of a few extreme young men,

and identity-driven. In particular, masculinity’s

to broader audiences. In the process, boards

normative boundaries are crashed into,

are picked up by Betties and bunnies hop

taken up, and occasionally busted through.

over retirement fences, expanding skate-

These negotiations produce a variety of

boarding’s uniquely embodied repertoires in

effects, which are indexed not only in

ways previously unimagined.

MA History and Theory of Contemporary Art, San Francisco Art Institute, 2014

skateboarders’ individual bodies and moves, but more generally in skateboarding’s material culture—the board graphics, T-shirts, stickers. The artwork of Jeremy Fish uniquely marks how skateboarding balances an irreverent impulse to smash the norm, while also desiring a place at the table. A long history of reluctant critiques of what “makes a man a man” are deposited in Fish’s clean, highly stylized, heraldic images of cartoony skulls and bunnies—in the face of previous graphics featuring grotesque and gnarly craniums and imposing snakes.

Jeremy Fish and Todd Bratrud Tale of the Double-Headed Snake 2005 “We each drew half of this graphic. Todd Bratrud is one of my favorite skateboard designers. This is one of the first collaborative board graphics ever. Fact.” –Jeremy Fish Photographed by Rachel Ralph | © Consolidated Skateboards Courtesy of Consolidated Skateboards

Jeremy Fish The Silly Pink Bunny Statue 2010–2013 “An 8-foot tall fiberglass bunny statue, made and placed in public with no financing or permission. A 10-foot bronze version to take its place in 2015.” –Jeremy Fish Photographed by Aaron Durrand | © Lower Haight Art Center Courtesy of the artist

103

EMILY EBBA REYNOLDS BORN Boulder, Colorado, 1988 EDUCATION BA Art History, University of Colorado Boulder

MA Exhibition and Museum Studies, San Francisco Art Institute, 2014

FREIGHT AND FRAUGHT: THE PRODUCTION OF A CONSCIOUSLY EMBODIED VIEWER THROUGH A SITE-SPECIFIC CURATORIAL PRACTICE

Using two museum buildings and two 2013 retrospective exhibitions as its objects—The New Museum and Chris Burden: Extreme Measures, and MoMA PS1 and Mike Kelley— this thesis is about the way the site of the museum, the architecture of the museum,

A museum experience does not begin in an

and the design of an exhibition shape the

exhibition; rather, it begins outside, before

consciousness of the museum visitor. At

the museum has ever been entered. The

The New Museum, weight and balance are

museum as an architectural object shapes a

established as a primary concern for

visitor’s consciousness and expectations of

Burden, starting with his performance

what will happen inside. This can cause a

practice, and becoming more important in his

problem of functionality for contemporary ar-

sculptural work, which frequently includes

chitecture, because while the experience that

literal weights and balances. SANAA’s New

begins outside is shaped by the permanence

Museum can also be read as a balancing act,

of architecture, the content and objects on

a carefully balanced stack of cubes, one on

the interior are constantly changing. This

top of another. At MoMA PS1, Mike

establishes a dichotomy between permanent

Kelley’s work incorporates schools as sites

museum and temporary exhibition, within

of repressed memories, a theme that invokes

which the architecture of the museum can

a kind of phenomenological experience in

function as little more than a container to a

viewers as they walk through PS1, a building

constantly changing interior.

that actually served as a school originally, and only later was repurposed as an art space. The veneer of the white cube gallery is almost erased as the theme of the school as a traumatic site wears on the visitor. What these case studies establish is that a curatorial unification of the container and the contained can be mobilized to create an experience that engages a conscious body in the visitor. The strength of this kind of embodied experience has more power than a primarily visual experience, and functions beyond the ideologies of sameness and neutrality of the white cube gallery.

Annotated map of the exhibition Mike Kelley MoMA PS1, 2013 Photographed by Emily Ebba Reynolds

IN OR OUT, BUT ALWAYS CHILANGO: AN ANALYSIS OF MEXICO CITY’S CONTEMPORARY ART SCENE THROUGH THE LIFE AND WORK OF DR. LAKRA AND GABRIEL OROZCO

their voices in favor of a way of understanding art in relation to their particular time and space. However, the ways of doing this have been almost opposite for these two artists.

MÓNICA VÁZQUEZ RODRÍGUEZ

This thesis studies the implications of such differences, based on identity, personal brand-

BORN

ing, and space.

Mexico City, Mexico, 1985

The rise of Dr. Lakra and Gabriel Orozco’s visibility locally and globally is a response

The identity construction of the Mexican

EDUCATION

to a new order in the art world, one of new

artist and the artist from Mexico, understand-

BS Communications, Instituto

geopolitical arrangements, expanded net-

ing that an identity is not a self-contained,

Tecnológico de Monterrey, 2008

works, and a precarious stability that fore-

isolated substance, is explored in detail. The

closes conflict and celebrates difference. This

artist's public image is also analyzed. Orozco

is supplemented by an aggressive market that

and Lakra are being polarized by the market,

MA History and Theory of

manages artists almost like brands. Conse-

despite their membership in the same social

Contemporary Art,

quently, the artists’ work and the historical

circle. In addition, this thesis includes a close

San Francisco Art Institute, 2014

moment of their appearance on the art scene

reading of the involvement of the artists with

demand closer examination.

Mexico City’s private and public spaces, and their engagement with the community and

Gabriel Orozco and Jeronimo “Dr. Lakra”

specialized audiences. In or Out, But Always

Lopez act as quintessential figures that

Chilango contributes to clarifying the role

promoted the explosion of the contemporary

of the artist in this globalized art scenario,

art scene in Mexico City from two different

acknowledging the inescapable negotiation of

positions. Both artists belong to the 1990s

difference that individuals from nondominant

generation, a group of artists that in the

countries are forced to face every day.

middle of social and economic chaos raised

Dr. Lakra Untitled (Vedetes num. 194) 2007 Ink on vintage magazine page 11.02 x 8.66 inches

Gabriel Orozco Black Kites Perspective (Front horizontal) 1997 (Printed 2008) Fuji crystal chromogenic archive C-print 16 x 20 inches

105

OUATER SAND H2oSand.com BORN Saigon, Vietnam, 1964 EDUCATION BCA, Ecole de Paris des Métiers de la Table, Paris, 1990; BFA Film, San Francisco Art Institute, 2001

Dual Degree MA/MFA History and Theory of Contemporary Art, San Francisco Art Institute, 2014

SWEETNESS IS A SIMPLE CITIZEN: LÊ HUY HOÀNG’S INSTALLATION WORKS AS AN EXAMPLE OF VIETNAMESE HYBRID ART

my investigation on why Vietnamese artists began using new media such as installation and performance arts at a particular moment and how this work has been received at both the local and international level. Other ques-

This thesis is an investigation of the installa-

tions that arose include: Why do so many

tion works of contemporary Vietnamese

Vietnamese artists use Vietnamese food

artist Lê Huy Hoàng (1967–2014)—in

and everyday objects in their work? Specific

particular, The Speaker, The Scarf, Rain, and

examples from Lê Huy Hoàng’s work include

The Wall—through the lens of hybridization.

sugar, coffee, cabbage sprouts, needle, and

In the context of Vietnam, hybrid art created

thread. Is there a cultural or political mes-

a difference between traditional art and

sage signified by these objects and food? Do

contemporary art that affects Vietnamese

Vietnamese artists use Western media, like

audiences. My question as to why local

the form of installation art, in order to com-

audiences often seem to misunderstand con-

municate with, and gain access to, the global

temporary art forms led me to focus

art world?

THE SURVIVOR’S WORD DISPLAYED AND DISPLACED: THE MEMOIR, REPRESENTATION, AND MEDIATED EXPERIENCE IN HOLOCAUST MUSEUMS

My project investigates the presentation of a survivor’s writing at two sites claiming to collectively serve their memory. A French narrative in Drancy and an American narrative in Washington, D.C., offer two very different interpretations and representations of the

Memory or remembrance connects individu-

same memoir. The United States Holocaust

als of the present to a past, a history that

Memorial Museum risks a functional evasion

is often charged with trauma. The Jewish

and disavowal of the memoir, or a separation

Holocaust or Shoah is one horrific event

from these memories and testimonies. The

which people ought to remember. Its memory,

Mémorial de la Shoah in Drancy facilitates

however, may be transient, fading into history

testimony and puts the visitor face to face

with only a few remaining survivors who can

with a demolishing memorialization. Both

offer their testimonies. There is also a fear

museums allow circulation and may present

that such knowledge or emotion cannot pos-

an emotional life of the text in a surprising

sibly be handed down. Individuals live with

but powerful manner. Throughout a documen-

the struggle to forget and remain silent, or

tation of my museum visits and application

the need to tell and memorialize. One per-

of my theoretical framework, direct interven-

son’s history touches more than anonymous

tions with pieces of my grandmother’s mem-

objects, abstract numbers, and maps. So how,

oir provide a way to reflect on the power of

after all, does one bear witness? How does

this type of writing, as well as to gain a more

one represent personal memory?

realistic and tactile understanding of the

NOÉMI SZYLLER BORN Paris, France, 1988 EDUCATION BA Art History, St. Edward’s University, Austin, Texas, 2011

MA Exhibition and Museum Studies, San Francisco Art Institute, 2014

museums’ choices. These questions lie at the heart of places such as memorials and Holocaust museums. Some of these institutions and monuments have been built on the sites where the horrors actually happened. Others can be found in most major cities of the world. Whether the location itself carries history or not, archives have been gathered, curated, and displayed—and an atmosphere created. The museums, with their privileged access to authentic documents such as written testimonies, have a responsibility to preserve and to expose a truth to the public. But what happens to the memoir in a museum setting? What form does it take throughout the exhibition, and how important is the survivor’s voice compared to the other objects on display? Museum strategies change our experience of the testimony and, therefore, highlight the difference between reading the memoir and seeing it displayed in the museum. My Grandmother’s Memoir 2013 This is a photograph of the memoir that inspired this investigation. It was translated for the purpose of this project and is excerpted throughout the thesis. Photographed by Dara Rosenwasser Courtesy of Noémi Szyller

107

LOUIS A. VARGAS BORN Oceanside, California EDUCATION BA History, University of San Diego, 2009

MA Exhibition and Museum Studies, San Francisco Art Institute, 2014

PAGEANT OF PHOTOGRAPHY: MODERN PHOTOGRAPHY IN THE EYES OF ANSEL ADAMS

examines the story behind A Pageant of Photography and how it served as an outlet for Adams to express his view of modern photography as a multifaceted medium. In addition, I

Since the creation of the first photographic

will discuss the public reaction to A Pageant

print in 1838, the art community has debated

of Photography and the lack of recognition

over the qualifications of photography as

it received. A deeper understanding of the

an artistic medium. While photography was

artwork exhibited, the catalogue written, and

finally accepted as an art form by the twenti-

overall artistic environment during A Pageant

eth century, its definition has continued to be

of Photography aids in the elucidation of its

debated within the photographic community.

significant contribution to the history of

A turning point in this debate occurred at the

modern photography.

1940 Golden Gate International Exposition in San Francisco with the debut of A Pageant of Photography, the first exhibition curated by famed photographer Ansel Adams. My thesis

A Pageant of Photography (Installation view from History of Photography section) 1940 Silver gelatin print 8 x 10 inches Courtesy of Center for Creative Photography, University of Arizona, Tucson: Ansel Adams Archive

The MA Collaborative Project, in conjunction with each student's individual thesis, forms the capstone of the MA degree at SFAI. Students from all three MA programs (Exhibition and Museum Studies, History and Theory of Contemporary Art, and Urban Studies) work together to define, research, and present a multifaceted public work focusing on a crucial aspect of contemporary art and its critical contexts. Studio of Zoila Albarinia Caama単o

EN((GENDER))ING PERFORMANCE AT SFAI: A CALL AND RESPONSE FACULT Y Betti-Sue Hertz MA STUDENTS Elana Bernnard April Marie Dean Sharrissa Iqbal Soyi Kim Cléa Massiani Ling Meng Jessica Montgomery Jennifer M. Moreno Rhonda Pagnozzi

En((gender))ing Performance at SFAI: A Call

concept and explain its evolution. This inves-

Rachel Ralph

and Response examines the radical culture

tigation extended to broader subjects such

Emily Ebba Reynolds

within the San Francisco Art Institute as a

as activism, sexuality, religion, identity, and

Mónica Vázquez Rodríguez

platform for artists who have incorporated,

marginalization. En((gender))ing Performance

Ouater Sand

challenged, or subverted an expectation of

at SFAI: A Call and Response highlighted the

Noémi Szyller

gender in their practices. The multifaceted

ongoing space for acceptance and empower-

Geoffrey Traxler

project showcased artists connected to SFAI’s

ment provided by the SFAI community and

Louis A. Vargas

archives who have been recognized for work

its synergy with the progressive climate of

that contributes to the construction of

San Francisco at large. The project included

Chestnut Street Campus,

gender through their performance of visual

a full day of events, including an exhibition

San Francisco Art Institute

signifiers of masculinity and femininity. By

from the SFAI archive, as well as local col-

looking to artists like Steven Arnold (BFA,

lections; a student exhibition in response to

1970; MFA, 1978), Nao Bustamante, Jerome

the archive; performances; a film festival; a

Caja (MFA, 1987), Annie Sprinkle, Curt

roundtable discussion; and a cocktail hour. In

McDowell (BFA, 1972; MFA, 1973), Catherine

12 ephemeral hours, the project reawakened

Opie (BFA, 1985), Linda Montano, and

history and created a contemporary response

Jennifer Locke (MFA, 2006), the project

embodying the radical legacy that is the

asked current artists at SFAI to consider

San Francisco Art Institute.

May 3, 2014

how this legacy allowed for further experimentation of the artist’s and performer’s

engenderingperformance.com

persona. Emerging artists responded to this environment, forging new contexts and interpretations of gender, power, and the individual, as an opportunity to rethink the

Anna van der Meulen Triptych from the series 3304 St. Clair 1988 Metal prints on aluminum with a sheer matte finish 6 x 4 x 12 inches each © Anna van der Meulen | Courtesy of The Jerome Project/Anthony Cianciolo

Steven Arnold (1943â&#x20AC;&#x201C;1994) Advantages of a Newer Social Structure Year unknown Courtesy of The Steven Arnold Trust

111

Performance by Raquel Torres-Arzola and facade intervention by Lorena Perez Villers Photographed by Jess Myers

THE CARROTS

LOCAL PROJECTS AND EXHIBITIONS

FILMMAKER Sogol Rezvani Dehaghani SFAI ARTISTS Samira Hashemi King Liu Qi Lue Ryan Wiley Minoosh Zomorodinia FACULT Y Christopher Coppola Jennifer M. Kroot Tony Labat Hiro Narita OTHER PARTICIPANTS Jole Carter Studio 8 and Chestnut Street Campus, San Francisco Art Institute

The Carrots is an experimental narrative video. The story is a realistic narrative based on human relationships. It is about two strangers who randomly start talking in the street. They continue their conversation

Spring and Fall 2013

about the feeling of alienation in big cities, the main reason they have connected with each other. The structure of the film is experimental. It was created as a green-screen production/experience in SFAIâ&#x20AC;&#x2122;s legendary Studio 8.

The Carrots 2013 Video Photographed by Qi Luo

REMEMBER ARTISTS Irene Carvajal Dara Rosenwasser Andrew Ananda Voogel CUR ATOR Noémi Szyller Diego Rivera Gallery, San Francisco Art Institute

June 23–29, 2013

There is always a mark… a memory,

Voogel reclaims archives and records and

a residue…

captures, through photography, a culture of tradition and exile. Rosenwasser investigates

It began with the artists uncovering fam-

memory and cultural residue through pho-

ily narratives, archives, and objects. In this

tography, textiles, and installation, looking at

body of work, they explore the possibilities

what remains unseen or lost. Carvajal creates

yet to occur when experiencing the weight

prints by directly embossing the paper with a

of memory and the building of identity.

garment that she feels carries psychological,

Each of the artists is in conversation with

social, and cultural weight.

this memory, this mark: What has been left behind, and what is in the process of becom-

The exhibition posed the question: To remem-

ing today? What remains from a thrift shop

ber or to forget? The artists embraced an

in Costa Rica, a Caribbean history of exile, a

inherent call to visit a time and place where a

childhood in Panama, and a Jewish heritage

rupture occurred. They not only carried histo-

of trauma? What does it mean to encounter,

ries and cultures, but also chose to seek and

not only historical events, but also imagined

find. Their ability to recreate inherited and

narratives, memories, and the haunting of the

lived experience became a process of telling

archive that emerges?

and reconciliation.

Remember Work by Irene Carvajal, Dara Rosenwasser, Andrew Voogel Photographed by Dara Rosenwasser

115

THE IMPLICATIONS OF SUGGESTION ARTISTS Mariel Bayona Chris Grunder Thomas Van Houten Diego Rivera Gallery, San Francisco Art Institute

September 1–7, 2013

Technology and taste afford current

However, this neglects the important role

sculptural practice the possibility of

static sculpture can play in developing and

employing action, interaction, automation,

challenging the viewer’s imagination. By

and animation to entrance and entertain

offering up content that is set as a holistic

viewers. Not merely gimmicks, these have

sensory experience, the space for viewers to

come to signify a deep change in how

insert themselves is removed.

sculpture is conceived by the artist and perceived by the audience, a shifting of the

The three artists presenting here do not

sculpture from the corporeal realm of objects

“show” but rather “suggest.” They make room

to the temporal realm of experiences. This

for viewers to activate these sculptures

method of working has its advantages,

through their own conceptions and come

foremost among them being the ability to

away having their own sense of the work and

“show” the viewer something through a

its relation to the world as both a physical

variety of sensory inputs and have their

object and as a symbol.

response be remarkably close to what the artist intended.

The Implications of Suggestion Work by Mariel Bayona, Chris Grunder, Thomas Van Houten Photographed by Chris Grunder

SITUATIONAL IRONY/ #whysoserious? ARTISTS Martin Sammy Gardea David Lasley Jake Reed CUR ATOR Cléa Massiani Swell Gallery, San Francisco Art Institute

September 22–October 5, 2013

“Situational irony” is an “incongruity between the actual result of a sequence of events and the normal or expected result.”* Whether depicted in fiction or in nonfiction, situational irony sharpens or highlights certain discordant features of reality. This exhibition considered art differently, posing the question: Why so serious? The exhibition engaged a conversation of austerity versus satire and displayed the results of this inquiry. The works included in the show teetered on the brink of being witty oneliners, but resonated beyond the proverbial cliff by falling into the territory of social commentary, offering valid critiques of contemporary culture. Like a macho burlesque, the exhibition presented humorous thoughts with a serious attitude. *Defined by Merriam-Webster

SITUATIONAL IRONY/#whysoserious? Photographed by Reagan D. Pufall

SITUATIONAL IRONY/#whysoserious? Work by Martin Sammy Gardea Photographed by Reagan D. Pufall

117

THE SAND RECKONER ARTISTS Javier Arbizu Marshall Elliott Thomas Maury Francisco Pinheiro Diego Rivera Gallery, San Francisco Art Institute

September 29–October 5, 2013

“The Sand Reckoner” is the name of

networks have been shaping new habits in

Archimedes’s hypothetical project to

modern societies in the way people interact

calculate the size of the universe, measured

with each other, the way they experience

in the number of grains of sand that it would

leisure, and the way they learn about things.

take to fill the space. The disparity between

All of these aspects influence the percep-

what is possible and impossible evokes a

tion of time, affecting how people think and

sense of absurdity in the scope of the project

experience reality. The speed and the amount

and the amount of time required to accom-

of stimuli dealt with every day constantly call

plish the task. The four artists in this show

for a quick response or a fast reading, leading

address “slow time” as an inspiration for their

to an alienation of the senses and the body.

process and point to temporary connections, fleeting moments, imperceptible changes,

This exhibition aims to investigate which

and other perceptible but subtle ways that

sounds, gestures, words, and images are left

time offers shape to our lives. Through a

behind on the surface, what other frequen-

diverse set of mediums, including painting,

cies of meaning can be unraveled, and what

installation, video, kinetics, and sound,

other scales of time can be experienced.

the show explored notions of speed, perception, and motion. Information has never been so urgent as it is today. Mobile technologies and social

The Sand Reckoner Work by Javier Arbizu, Marshall Elliott, Francisco Pinheiro Photographed by Marshall Elliott

THE PLACE IS HAUNTED ARTISTS Caity Fares Dara Rosenwasser CUR ATOR Noémi Szyller Swell Gallery, San Francisco Art Institute

October 20–November 2, 2013

For this exhibition, Rosenwasser and Fares

tion: What if dark, ghosted figures and color-

shared work in sound, video, and photog-

ful, haunted landscapes that can’t usually be

raphy to illustrate their experience with

seen by the human eye are suddenly brought

hauntings. Additionally, they explored visions

to light? Her two mannequin-head cameras,

of memory through dark landscapes, material

one with pinhole eyes and paper negatives

remnants, and ghostly portraits.

and one with projector lenses and color film, act as contemporary visionaries.

In her work, Rosenwasser investigates memory and cultural residue by creating lucid

Rosenwasser and Fares discovered a haunted,

and imagined narratives through photography,

semi-abandoned landscape together that they

fiber, sound, and installation. She addresses

refer to as “The Place.” The Place is a deso-

the haunted transmission of collective mem-

late, salty, marsh field with abandoned build-

ory and then confronts the material remains.

ings from a legendary ghost town. Pieces

She is interested in utilizing what is unseen

of home life, such as china and glass, are

or has been left behind as a means to chal-

scattered and broken among dried grass and

lenge fixed notions of past and present.

animal bones. The Place is both a physical reality and a haunted mindset, where the subtle

Fares is interested in phenomenology and

presence of ghosts and remnants of the past

intrigued by the idea of “sight,” not as some-

are activated by the onset of visitors.

thing inherently physical or biological, but as the ability to interpret the world from within and outside of what society has established as “normal.” Her photography poses the ques-

The Place Is Haunted Photographed by Caity Fares

Poster for the exhibition The Place Is Haunted

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RED DRESS ARTIST Junnan Jiang FACULT Y Kerry Laitala Hiro Narita Columbus Avenue, San Francisco

October 28, 2013â&#x20AC;&#x201C;March 3, 2014

Following nearly one month of preparation, Red Dress was shot over a period of five days in November 2013, followed by three months of postproduction. Through magical colors and a series of funny occurrences, the film tells the story of a famous singerâ&#x20AC;&#x2122;s tragedy. When the singer makes a mistake during a performance in an unfamiliar city, she discovers that she cannot take off her red dress or she will die. The story intends to depict the common weaknesses of emotion in human beings who are trapped by the glory and sorrow of the past. The story aims to illustrate that human beings can embrace future happiness only when they let go of the past.

Junnan Jiang Red Dress 2014 Video Photographed by Chuan Liu

On the set of Red Dress Photographed by Wuyou Ouyang

BORDER/LINE GR ADUATE ARTISTS Javier Arbizu Mariel Bayona Elizabeth Bowler Joanne Easton Gözde Efe Marshall Elliott Matt Goldberg Samira Hashemi Owen Laurion C. Franco Maldonado Daniel Melo Caitlin Molloy Özlem Ayse Özgür Francisco Pinheiro Maya Smira Andrew Ananda Voogel Na Young Woo

The U.S. State Department encourages

and politics. It is loaded with taboos, fetishes,

college campuses to celebrate International

and cultural norms, and signifies what is

Education Week each year during the second

permissible. Borders are both an opening and

week of November. In the spirit of SFAI

a restriction to a country and its individu-

academic and creative interpretation, the

als. They mark the edge of controversy and

Global Programs Office transformed the 2013

instability in a globalized scenario.

event into an opportunity to celebrate the cultural experience of all SFAI students.

Culture is inherent to expression and borders are constantly being crossed; not only

To encourage cultural dialogue and the

physically, but also through conversation and

exchange of experiences and ideas, SFAI

creation. Border/Line created a unique space

Global Programs and the Diego Rivera Gallery

for experimentation and reflection on these

mounted an exhibition of original collabora-

issues.

tive artwork by groups of two or more artists. The project model encouraged exploration

More than just an art exhibition, it was

of working together, while respecting

an invitation to push personal boundaries

unique individual perspectives, a concept

through collaboration with others.

at the heart of SFAI’s diversity and artistic expression. A border does not define a person. It does, however, identify a geographical territory, and sets boundaries and laws. It marks history

Maria Theresa Barbist and Santiago Insignares Diffused Borders 2013 Performance 5 minutes Photographed by Andres Moya

Minoosh Zomorodinia UNDERGR ADUATE ARTISTS Ahram Chae Susie Borhan Alexandra Delafkaran Nicole Lewis Renee Marie Rodriguez Niamh MacFadden Eli McNally Nuda Thamkongka CUR ATORS Cléa Massiani Mónica Vázquez Rodríguez Noémi Szyller FACULT Y Jill M. Tolfa, Global Programs Advisor Diego Rivera Gallery, San Francisco Art Institute Sponsored by the Global Programs Office

November 10–16, 2013

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DREAMWORKS ARTISTS Li Ma (Mary Ma) Ouater Sand Minoosh Zomorodinia CUR ATOR Jennifer M. Moreno Swell Gallery, San Francisco Art Institute

February 3–15, 2014

“A dreamer is one who can only find his way by moonlight, and his punishment is that he sees the dawn before the rest of the world.” –Oscar Wilde Li Ma (Mary Ma), Ouater Sand, and Minoosh Zomorodinia came together in Dreamworks to explore how the dream is experienced and used to understand emotion, spirituality, and imagined worlds. Swell Gallery was transformed into a dark cavern, itself an immersive environment, that allowed the viewer to become intimate with one’s dreams and thoughts. All three artists make work to understand the latency in the connection between our subconscious and the visual materiality that becomes the final embodiment of dreams.

Dreamworks Work by Li Ma (Mary Ma) and Ouater Sand Photographed by Åsa Åkerlund

Li Ma (Mary Ma) Made in China: Disco Jellyfish 2014 Installation Dimensions variable

NORTHERN CALIFORNIA PERFORMANCE PLATFORM ARTISTS Kira Dralle (Chair, Graduate Committee) Elana Bernnard April Marie Dean Jennifer M. Moreno FACULT Y Sampada Aranke Nicole Archer Claire Daigle Chestnut Street Campus, San Francisco Art Institute

The Northern California Performance Platform is a one-day symposium that brings

March 28, 2014

together faculty, graduate students, and art practitioners from around the region to connect, share research, and engage in dialogue connecting urgent conceptual and practical issues at play in the field of performance studies. This yearâ&#x20AC;&#x2122;s event included a morning keynote performance by Susan Silton, an afternoon paper panel, praxis sessions, and an evening performance salon. northerncaliforniaperformanceplatform.wordpress.com

Susan Silton She Had a Laugh Like a Beefsteak 2006 Performative lecture Courtesy of the artist

123

COLLABORATIONS

ARTISTS/SCHOL ARS Elisabeth Ajtay Sarah A. D. Ammons Javier Arbizu Shay Arick

EXCHANGE

PROJECT

SAN FRANCISCO ART INSTITUTE

FOUNDING EDITOR Jennifer M. Moreno

COLLOQUY: AN EXCHANGE PROJECT

Elana Bernnard Marshall Elliott Missy Engelhardt Martin Sammy Gardea Toni Gentilli A

L O

Cléa Massiani Ling Meng Jessica Montgomery Jennifer M. Moreno Sarah Nantais Ashleigh Elisabeth Norman

COLLOQUY

Andréanne Michon

Rachel Ralph Dara Rosenwasser Stephanie Rohlfs

Maya Smira Noémi Szyller Louis A. Vargas Mónica Vázquez Rodríguez Andrew Ananda Voogel

Claire Daigle

FACULT Y Nicole Archer

Emily Ebba Reynolds

David Lasley

STAFF

2013–2014

PROJECT

San Francisco, California

EXCHANGE

$20

Vera Kachouh ISBN 978-0-930495-03-9

Zeina Barakeh

COLLOQUY: An Exchange Project is a

theme, instead discovering one as MA

graduate student–run publication that

students pair with MFA candidates of similar

provides MA and MFA candidates at

interests and critical approaches. The cura-

SFAI with opportunities for professional

tors present the general readership with their

development in writing and art research.

connections, developments, and suggestions, pushing the dialogue even further and giving

COLLOQUY collects and publishes the

it a public voice.

interviews and research projects that arise from intimate, colloquial studio exchanges

The project provides a unique opportunity for

between SFAI’s artists and scholars,

MA students to interact and collaborate with

focusing on works of writing that investigate

artists from the MFA program, amplifying a

or analyze artwork, creative process, or

compelling interdisciplinary context in which

lived experience.

research and inquiry become practice.

Founding Editor Jennifer M. Moreno solicits

The first issue of COLLOQUY was published

the participation of contributing editors

by the San Francisco Art Institute through No

(MA and Dual Degree candidates at SFAI),

Reservations Art—a professional practice ini-

to collaborate with MFA artists on this pro-

tiative funded in part by a generous donation

cess of research and discovery. COLLOQUY

from the Emily Hall Tremaine Foundation.

deconstructs the traditional nature of a magazine by procuring without a central Read COLLOQUY

Cover of COLLOQUY: An Exchange Project Design by Brett Elliott

125

IRAN窶的SRAEL ARTISTS Samira Hashemi (Iran) Maya Smira (Israel) Diego Rivera Gallery, San Francisco Art Institute Marin Headlands, Defunct Army Bases, Sausalito, California

November 2013

Iran窶的srael is an ongoing collaboration between Maya Smira (from Israel) and Samira Hashemi (from Iran) started in October 2013 at SFAI. As Israeli and Iranian artists whose friendship is incomprehensible by their governments, they bring their common human experiences of tension and instability generated by their governments into performative actions and installations. samira-hashemi.com/#!iran-israel/cxkz

Samira Hashemi and Maya Smira Iran窶的srael 2013 Video 10:34-minute loop

Samira Hashemi and Maya Smira Iran窶的srael 2013 Performance still Photographed by Minoosh Zomorodinia

SFICA: BREAKOUT! SFAI CUR ATORIAL TE AM Cléa Massiani Emily Ebba Reynolds Stephanie Rohlfs Noémi Szyller CCA CUR ATORIAL TE AM Kathryn Crocker Kristine Eudey Tanya Gayer Adam Henderson Melissa Miller Dani Neitzelt Micah Wood San Francisco: Incline Gallery, 1038 Project Space, Adobe Books

A hybridization of California College of the

Though most of SFICA’s founding members

Backroom Gallery, Sports

Arts and the San Francisco Art Institute,

are graduating in 2014, leadership has been

Basement, Asterisk

SFICA’s mission is to pool resources and

passed on to a new group of graduate

Oakland: Some Thing Spacious,

provide as many opportunities for dialogue,

students from both institutions.

Lobot Gallery

exhibition, and participation as possible to the graduate students of both institutions. As a natural and necessary coupling of thinkers,

sficarts.com February–April, 2014

SFICA’s programs foster a culture of collaboration, and situate graduate artists, curators, designers, and writers within the larger Bay Area arts community. In spring 2014, the group debuted Breakout!, their inaugural series of exhibitions, which encompassed seven satellite exhibitions, a film screening, live performances, a joint Instagram residency, and a public forum. In preparation for the exhibitions, SFICA arranged studio visits for interested artists and curators at each institution, and encouraged students to work collaboratively to create new work for public exhibition. SFICA was thrilled to have over 80 artists participate in this project, supported by a dedicated team of curators and organizers.

Generation Some Thing Spacious, Oakland Photographed by Ethan Rafal Poster for the exhibition Glitch 1038 Project Space, San Francisco

127

OFF-SITE PROJECTS

RE public ARTISTS

In July 2013, Tuan Mami, a visiting scholar at

Angela Brown

SFAI, led a course entitled Performance and

Sydney Brown

Documentary Practice in the Public Sphere.

Rachel Bussières

Participants in the course created a show

Katherine Hardwood

that included live performance and interdisci-

Jessica Monroy

plinary artwork.

Lorena Perez Villers Ouater Sand

REpublic is an exhibition based on research,

Denise Silver Raquel Torres-Arzola

site-specific practice, and deconstructed

FACULT Y

ing movement of the world and its social

form, which deals with the rapidly chang-

Tuan Mami

systems. Using hybrid strategies and multiple

Ever Gold Gallery, San Francisco

places in San Francisco and responded to

artistic forms, participants researched specific these environments. They moved back and forth between the locations that informed

July 11–14, 2013

their work, gaining an understanding of

local context and public spheres, and drawing lines of communication between art and daily life. With REpublic, the artists transformed themselves from visitors and researchers to locals, activists, and creators. They raised questions about the meaning of the term “public” in modern society and reimagined the idea of public space for a different reality and new artistic environments. REpublic did not function merely on the surface of the San Francisco community; instead, participants inhabited a state of self-consciousness to better understand themselves before blending into their environment. In this process, the artists navigated the precarious space between self and other.

Lorena Perez Villers HITO 2013 16,000 yards of flagging tape on public building Photographed by Raquel Torres-Arzola

REpublic Performance by Raquel Torres-Arzola and facade intervention by Lorena Perez Villers Photographed by Jess Myers

BAUMANN + MUKSIAN SFAI ARTIST Aram Muksian OTHER PARTICIPANT Daniel Baumann, Curator, Museum of Fine Arts Berne, Switzerland Outsider Art Fair 2014, New York

May 8–11, 2014

Baumann + Muksian is a temporary curatorial

Hung on wallpaper by British artist Sarah

endeavor by Swiss curator Daniel Baumann

Lucas, Kemp’s work will be paired with works

and SFAI artist Aram Muksian. Invited by the

by Mexican artist Dr. Lakra (b. 1972) and

Outsider Art Fair, the collection presented

Ohio-based artist Lewis Smith (1907–1998).

by Baumann + Muksian premiers the work

The works of these three artists contrast

of John Urho Kemp (1942–2010), a meta-

with Kemp’s mental world by being openly

physics researcher who made his home in

erotic, exuberant, and reliant on humor.

California. Known to some as “Crystal John,”

Although each of these works originate from

Kemp was also a member of the Institute of

different times and backgrounds, they share

Divine Metaphysical Research, a nonprofit,

common ground in their masterfully executed

nondenominational organization teaching that

disrespect for social conventions and artistic

the creator’s existence reveals itself in the

norms in search of enlightenment and

designs of life and nature. Kemp’s search for

artistic freedom.

revelations through meditation, metaphysics, patterns, formulas, and numbers led to an

arammuksian.com

extensive body of writing, calculations, and

outsiderartfair.com

drawings. Archived and brought to New York by Muksian, hundreds of sheets filled with Kemp’s cosmic and philosophical speculations were viewed for the first time in this exhibition.

John Urho Kemp The Mole, The Soul Circa late-1980s Mixed media on paper 8.5 x 11 inches Photographed by Aram Muksian

129

Opening reception of ENERGY THAT IS ALL AROUND: Mission School View of the Zellerbach Quad Photographed by Shane O'Neill

SFAI CONCENTRATE October 19–20, 2013

ART, CRAFT, FOOD, MUSIC, AND MAYHEM SFAI’s second annual art festival and alumni celebration took over the Chestnut Street campus for a weekend in October, featuring the raucous convergence of art, craft, food, music, and general mayhem.

Alumni reconnected at events (SpeedDating with Gallerists; 6-Minute Alumni How-To Presentations; and Portfolio Reviews with Faculty); exhibited their new work in a competitive exhibition juried by Hesse McGraw, Vice President for Exhibitions and Public Programs; and staged mobile performances across campus, such as the memoryexcavating live collaboration You Were There, by Carissa Potter Carlson (MFA, 2010) and Josh Keller (MFA, 2009). Longtime faculty member and acclaimed photographer Linda Connor was honored with the 2013 Alumni Recognition Award. As night fell on Saturday, October 19, the music blared, the projections beamed, craft cocktails flowed from the Duchampian urinals, and SFAI’s signature renegade style came out in full force for a public party. ONEOHTRIX POINT NEVER headlined, the Bon Vivants poured drinks, and alumni, staff, faculty, and friends danced and laughed late into the night. Sunday morning saw the return of the vibrant SFAI art sale, with work by over 100 SFAI artists displayed across campus, salon-style, with proceeds directly benefiting student artists.

SFAI ALUMNI JURIED EXHIBITION October 19â&#x20AC;&#x201C;24, 2013 Ap-art-ment: Laura Boles Faw (MFA, 2010) and Cathy Fairbanks (MFA, 2010) Alexis Arnold (MFA, 2010) Lisa K. Blatt (MFA, 2006) David Grant (MFA, 2010) Daniel Jefferies (MFA, 2012) Steven Vasquez Lopez (MFA, 2007) Seth Lower (MFA, 2008) Robert Minervini (MFA, 2009) Susan Lynn Smith (MFA, 2008) Laura Swanson (BFA, 2008) Sarah Thibault (BFA, 2006) Ben Venom (MFA, 2007) Jesse Walton (MFA, 2008)

SFAI Concentrate and Alumni Juried Exhibition Photographed by Alessandra Mello

ALUMNI: Find out how you can reconnect at sfai.edu/alumni 133

SWELL GALLERY Swell Gallery is a laboratory exhibition space dedicated to the examination of the role of the gallery in an educational setting. Run by graduate students, the mission of the Swell is to provide a venue for the exploration and discussion of varying artistic perspectives from the student body, and to operate as a platform for collaboration, events, and dialogue. Swell Gallery is located on the second floor of SFAIâ&#x20AC;&#x2122;s Graduate Center at 2565 Third Street, and is open to the public. sfai.edu/swell-gallery

Installation view of Material Girl Photographed by Joshua Band

Installation view of Emergency Exit Only Photographed by Elisabeth Ajtay

FALL 2013

SPRING 2014

Adult Contemporary Iju Chiang, Michael T. Gaughan, Chris Grunder Curated by Sharrissa Iqbal August 25–September 7

Thought Flows Skye Bennett, Nathalie Brilliant, Cassidy Garbutt, Tania Houtzager January 20–February 1

SPUREN Maria Theresa Barbist and April Marie Dean September 8–September 21

Dreamworks Li Ma (Mary Ma), Ouater Sand, Minoosh Zomorodinia Curated by Jennifer Moreno February 2–15

SITUATIONAL IRONY/#whysoserious? Martin Sammy Gardea, David Lasley, Jake Reed Curated by Cléa Massiani September 22–October 5 A Hole Lot Bout Nothing Brittany Acocelli, Nando Alvarez, C. Franco Maldonado October 6–October 19 The Place Is Haunted Caity Fares and Dara Rosenwasser Curated by Noémi Szyller October 20–November 2 Home & Away Filza Ahmed and Daniel Postaer Curated by Louis A. Vargas November 3–November 16 Selfie Shay Arick, Samantha Lynn Croteau, Diana Galvis, Ouater Sand, Rui Zeng Curated by Ling Meng November 17–December 2

Crudo Mariel Bayona, Joanne Easton, Owen Laurion Curated by Noémi Szyller February 16–March 1 Imagining Cityscapes Hadar Kleiman, Monika Lukowska, Alex Molinari, Maya Smira, Liz Smith March 2–15 The Headache Santiago Insignares, Scott Isenbarger, Nolan Sheehan Jankowski, Blü Voelker March 16–29 Material Girl Irene Carvajal, Shiwen Jing, Özlem Ayse Özgür Curated by Mónica Vázquez Rodríguez March 30–April 12 Swoll Rhys Bambrick, David Lasley, Ileana Tejada Curated by Alex Molinari April 19–26 Piece Work Alice Combs, Roxy Erickson, Sai Li, Christopher Squier, Katherine Vetne, Kathryn Young April 27–May 9

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DIEGO RIVERA GALLERY Diego Rivera Gallery on the Chestnut Street campus, home to a legendary fresco by Rivera, is a student-directed exhibition space. The gallery provides an opportunity for artists from all disciplines and programs at SFAI to present their work or curate exhibitions; to create large-scale installations; or to experiment with new concepts and strategies in a highly accessible, public venue.

FALL 2013 Continuing MFA Show Brittany Acocelli, Nando Alvarez, Maria Theresa Barbist, Mariel Bayona, Danna Bialik, Irene Carvajal, M. Anne Cunningham, Gabriel D. Edwards, Marshall Elliott, Martin Sammy Gardea, Michael T. Gaughan, Chris Grunder, Marc Daniel Hirsh, Xiaotong Nico Jiang, Monika Lukowska, C. Franco Maldonado, Golbanou Moghaddas, Ashleigh Elisabeth Norman, Duo Peng, Francisco Pinheiro, Reagan D. Pufall, Stephanie Rohlfs, Dara Rosenwasser, Shannon Miya Russell, Andrew Ananda Voogel, Xiao Wang, Na Young Woo Curated by Mariel Bayona and Mónica Vázquez Rodríquez August 25–31 The Implications of Suggestion Mariel Bayona, Chris Grunder, Thomas Van Houten September 1–7 Obvious Obscurities Sofia Araya, Joe Hengst, Arielle Lemons, Adam McKenzie September 8–14

Performance at Border/Line Photographed by Joshua Band

NOthing Shay Arick, Gabriel D. Edwards, Li Ma (Mary Ma), Ouater Sand Curated by Ling Meng September 15–21 SOMEthing Benjamin Ashlock, Johnny Bicos, Nino Galluzzo, Diego Villalobos September 22–28 The Sand Reckoner Javier Arbizu, Marshall Elliott, Thomas Maury, Francisco Pinheiro September 29–October 5 Golden States Alessya Bonder, Mia Duran, Danni Lin October 6–12 Soiled Shay Arick, C. Franco Maldonado, Stephanie Rohlfs October 13–17

SFAI Alumni Juried Exhibition Ap-art-ment: Laura Boles Faw (MFA, 2010) and Cathy Fairbanks (MFA, 2010) Alexis Arnold (MFA, 2010) Lisa K. Blatt (MFA, 2006) David Grant (MFA, 2010) Daniel Jefferies (MFA, 2012) Steven Vasquez Lopez (MFA, 2007) Seth Lower (MFA, 2008) Robert Minervini (MFA, 2009) Susan Lynn Smith (MFA, 2008) Laura Swanson (BFA, 2008) Sarah Thibault (BFA, 2006) Ben Venom (MFA, 2007) Jesse Walton (MFA, 2008) October 19–24, 2013 Wants Itself Sarah-Dawn Albani October 28–November 2 There and Back Again: An Immigrant’s Tale C. Franco Maldonado October 28–November 2 Boring, A Hole Nathan Rosquist October 28–November 2 Solo Exhibitions Carly Cram, Xiaotong Nico Jiang, Xiao Wang November 3–9

Border/Line Javier Arbizu, Maria Theresa Barbist, Mariel Bayona, Elizabeth Bowler, Joanne Easton, Gözde Efe, Marshall Elliott, Matt Goldberg, Samira Hashemi, Santiago Insignares, Owen Laurion, Nicole Lewis, C. Franco Maldonado, Daniel Melo, Niamh McFadden, Caitlin Molloy, Özlem Ayse Özgür, Francisco Pinheiro, Renee Marie Rodriquez, Maya Smira, Nuda Thamkongka, Andrew Ananda Voogel, Na Young Woo, Minoosh Zomorodinia Curated by Cléa Massiani, Mónica Vázquez Rodríquez, Noémi Szyller Faculty: Jill M. Tolfa November 10–16

Installation view of Suspension of Belief Photographed by Joshua Band Performance at Border/Line Photographed by Joshua Band

Contemporary Practice: Artists from the First-Year Program Faculty: Amy Berk November 17–23 City Studio Exhibition Faculty: JD Beltran November 24–30 The Right of Passage Tina M. Dillman, Santiago Insignares, Nolan Sheehan Jankowski, Bronte Klass, Casey McManis, Özlem Ayse Özgür, Diego Villalobos Curated by Tina M. Dillman December 1–7

137

SPRING 2014 Skutt! Sarah-Dawn Albani, Tyler Cross, Dallas Holfeltz January 19–25 Slips, Trips, Falls Iju Chiang, Michael T. Gaughan, Samuel Spano January 26–February 1 A Queery for Your Vastness Alexandra “Rex” Delafkaran, Christine Lee, Casey McManis February 2–8 Apokalupto Charlie DiMascio, Gianna Dispenza, Owen Laurion, Cedric Wentworth February 9–15 After the Fall Alexandra “Rex” Delafkaran, Gregorio Figueroa, Renee Franco, Kendra Mamula, Kyle Welch February 16–22

The vaulted ceiling of the Diego Rivera Gallery Photographed by Joshua Band

Samira Hashemi and Maya Smira Iran–Israel 2013 Performance still Photographed by Joshua Band

Suspension of Belief Joanne Easton, Marshall Elliott, Li Ma (Mary Ma), Nathan Rosquist February 23–March 1 Solo Exhibitions Samira Hashemi, Chandler Holmes, Aaron Kissman, Patrick Santos March 2–8 Memory Under Construction Ilysa Austin, Roger Colom, Julia CR Gray, Alyssa Fujita Karoui, Brenna Nolan, Jenny Peng, Shannon Maya Russell, Xiao Wang Faculty: Aaron Terry March 9–15 Spring Break Colorado Marshall Elliott, Martin Sammy Gardea, Jake Reed Nathan Rosquist Curated by Emily Ebba Reynolds March 16–22

A Vibrant Fusion of Art and Life: When Printmaking Revisits the Murals of the Mission Lands Jonathan Asega, Irene Carvajal, Solis Cruz, Ann-Marie Cunningham, Anastasia Fagan, Juan Gerardo, Daniel Gonzalez-Zarzuela, Drew Grasso, Wesley Larios, Rika Laser, Monika Lukowska, Golbanou Moghaddas, Maxx Newman, Özlem Ayse Özgür, Trever Reyes, Justine Rivas, Nicholas Robins, Carlos Rodriguez, Amanda Shield, Dianna Settles, Sarah Tell, David Tim, Anna Yamamoto Curated by Noémi Szyller Faculty: Timothy Berry March 23–29 Memory Overflow Shay Arick, David Lasley, C. Franco Maldonado Curated by Mónica Vázquez Rodríquez March 30–April 5 Solo Exhibitions Michael Callaghan, Alice Combs, Chris Grunder, Aubrey Rotino April 6–12 Space/Time Nando Alvarez, Maria Theresa Barbist, Gabriel D. Edwards, Samira Hashemi, C. Franco Maldonado, Alex Molinari, Francisco Pinheiro, Stephanie Rohlfs, Maya Smira, Andrew Ananda Voogel Curated by Stephanie Rohlfs April 13–19

Howard Friedman Benjamin Ashlock, Diego Villalobos, Agnes Widdom April 20–25 REErick Beltran, Tim Kopra, Carolin Rechberg Curated by Courtney Whitaker April 28–May 2 En((gender))ing Performance at SFAI: A Call and Response MA Collaborative Project: Elana Bernnard, April Marie Dean, Sharrissa Iqbal, Soyi Kim, Cléa Massiani, Ling Meng, Jessica Montgomery, Jennifer M. Moreno, Rhonda Pagnozzi, Rachel Ralph, Emily Ebba Reynolds, Mónica Vázquez Rodríguez, Ouater Sand, Noémi Szyller, Geoffrey Traxler, Louis A. Vargas May 3 Conceptual Drawing Faculty: Keith Boadwee May 4–10 BFA Exhibition May 15–24 City Studio Exhibition May 25–31 Li Ma (Mary Ma) and Golbanou Moghaddas at the opening of NOthing Photographed by Joshua Band

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WALTER AND McBEAN GALLERIES SFAI’S EXHIBITIONS AND PUBLIC PROGRAMS provide direct access to artists and ideas that advance our culture. The Walter and McBean Galleries, established in 1969, present exhibitions at the forefront of contemporary art practice. The gallery serves as a laboratory for innovative and adventurous projects and commissions new work from emerging and established artists. SFAI’s Public Programs develop meaningful interactions between artists, students, and audiences

ENERGY THAT IS ALL AROUND

FRANCIS CAPE: UTOPIAN BENCHES

through lectures, education

MISSION SCHOOL: CHRIS JOHANSON, MARGARET KILGALLEN, ALICIA McCARTHY, BARRY McGEE, RUBY NERI

January 21–March 15, 2014

opportunities, and artist-driven experiences. Together, the exhibitions and public programs of the San Francisco Art Institute promote an environment that catalyzes the creative processes of its student artists and thinkers, and creates intimate connections between the SFAI community and the public.

September 12–December 14, 2013 Curated by Natasha Boas Featuring early and formative work by SFAI alumni Barry McGee, Alicia McCarthy, and Ruby Neri, as well as Chris Johanson and Margaret Kilgallen—all key members of the Mission School—ENERGY THAT IS ALL AROUND was heralded for its celebration of social art-making, community, folk art, nostalgia for the obsolete, low production values, and “street” aesthetics. The exhibition debuted in SFAI’s Walter and McBean Galleries before traveling to NYU’s Grey Art Gallery (April 15–July 12, 2014).

Francis Cape: Utopian Benches was an installation of 17 poplar benches precisely replicated from existing benches crafted by American communal societies. Of this work, Cape asserted, “material culture reflects social structure.” The benches were shown alongside Cape’s suite of drawings, which served both as archival renderings and construction documents. Utopian Benches created an egalitarian field that leveled hierarchies between stage and audience, artist and viewer. Following the dictum “we sit together” from the title of the accompanying text (Princeton Architectural Press, 2013), the exhibition created a latent social space in which dialogue and community could be forged.

Ephemera from the collection of Ruby Neri and Alicia McCarthy ENERGY THAT IS ALL AROUND Walter and McBean Galleries Photographed by Johnna Arnold

Opening reception of Francis Cape: Utopian Benches Photographed by Shane O'Neill

WRONG’S WHAT I DO BEST

fling themselves headlong into the coming

April 24–July 26, 2014

apocalypse. Collectively, their low-irony

Curated by Hesse McGraw and

tilt toward social, political, and personal

Aaron Spangler

fault lines might be characterized by illicit unrestraint, yet their lack of critical

Tanyth Berkeley, Ashley Bickerton,

judgment occludes the artists’ true selves.

CLUB PAINT, Liz Cohen, Wim Delvoye, Samara Golden, Trenton Doyle Hancock,

Taking its title from what was originally

Brad Kahlhamer, Nikki S. Lee, Jonathan

a George Jones anthem, the exhibition

Meese, Laurel Nakadate, Dana Schutz,

collected the work of artists who mine

Aaron Storck, Marianne Vitale, Kara Walker

deep recesses to produce in both deeply authentic and highly constructed ways—

“I like things to be seven kinds of wrong. If

blurring the lines between artist-person

they are seven kinds of wrong, sometimes the

and artist-persona.

wrongs neutralize themselves, and the whole thing becomes… ” –Ashley Bickerton Wrong’s What I Do Best gathered the selfsearing impulses of artists and musicians playing the role of one’s self as someone else. Working against correctness and failure, the exhibition reveled in repeated derailments to present the work of artists who prod the edges of our world. Some unearth scorched histories or upset “natural” order, while others

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GRADUATE LECTURE SERIES (GLS)

The Graduate Lecture Series (GLS) enables students and the general public to engage with emerging and established artists, curators, critics, and historians from local and international art communities.

FALL 2013 MAGGIE NELSON Theoretical Inquiry as Creative Practice September 13 MARIA ELENA BUSZEK Stacks and Stacks: Unpacking the Fan’s Archive in Contemporary Art September 20 TOM MARIONI Actions October 4 RACHEL SCHREIBER Dean and Vice President for Academic Affairs Portraiture and the New Biography October 11 MARK VAN PROYEN Associate Professor Theda’s Island (and Other Atrocities) October 18

ROBERT CROUCH The Choreography of Listening November 8 PAUL KLEIN Chair, Bachelor of Arts Department Imaging the Limits of Universalism: The Exclusionary Practices of Culture in Paris and Marseille November 15

SPRING 2014 K AREN FINLEY Trauma and Creativity February 7 JULIO CÉSAR MORALES Los Halfies February 21 HESSE McGRAW Vice President for Exhibitions and Public Programs The Radical Normalcy of Artists March 7

PHOTOALLIANCE LECTURE SERIES

MARCELO CIDADE Your North Surrealism Isn’t Our South Realism, or What Is Transgression Today? March 28 RICHARD MEYER Sister Corita's Shop Rite April 4 TIMOTHY BERRY Associate Professor A Curious Recognition April 11 JENNIFER DOYLE The Fist: Notes on an Athletic Gesture April 18 ALFREDO JAAR It Is Difficult April 25

PhotoAlliance, an affiliate of SFAI, is a nonprofit organization dedicated to supporting the understanding, appreciation, and creation of contemporary photography. PhotoAlliance fosters connections within the Bay Area photography community through public programs and educational activities including workshops, lecture series, and portfolio reviews.

Image from Jennifer Doyle’s lecture The Fist: Notes on an Athletic Gesture Heather Cassils with Eric Charles Becoming an Image Performance Still No. 2, ONE National Archives, Transactivations, Los Angeles, 2012 Performance still 30 x 45 inches Courtesy of the artist

FALL 2013

SPRING 2014

SAGE SOHIER September 13

JULIE BLACKMON January 24

DINH Q. LÊ Friday, October 11

PETER DE LORY AND DENNIS HEARNE February 14

MARK RUWEDEL Friday, November 8 JOHN CHIARA December 6

JOACHIM SCHMID March 14 CATHERINE WAGNER April 18

VISITING ARTISTS AND SCHOLARS LECTURE SERIES (VAS)

The Visiting Artists and Scholars Lecture Series (VAS) provides direct exposure to major figures in international contemporary art and culture.

FALL 2013 ANDY BICHLBAUM September 24 MICK ALENE THOMAS* September 30 JAIMIE WARREN + WHOOP DEE DOO October 14

CHRISTIAN JANKOWSKI

Christian Jankowski presented in conjunction with Project Los Altos: SFMOMA in Silicon Valley; SFMOMA in collaboration with the City of Los Altos and lead sponsor Passerelle Investment Company; November 9, 2013– March 2, 2014

October 31

MICHELLE GRABNER November 21

K ARIN SANDER March 11

BRAD K AHLHAMER* November 25

TERRY WINTERS* March 24

SPRING 2014

JOHN MILLER* March 31

KELTIE FERRIS* November 4

SIMONE LEIGH February 5

PAUL LAFFOLEY

MOHAU MODISAKENG + NANDIPHA MNTAMBO November 6

JILL MAGID February 12

October 17

KORI NEWKIRK November 11

ANOK A FARUQEE October 21

LIAM EVERETT

Paul Laffoley presented in conjunction with Dissident Futures, Yerba Buena Center for the Arts, October 18, 2013– February 2, 2014

Richard Diebenkorn Teaching Fellow

Iñigo Manglano-Ovalle Gravity Is a Force to Be Reckoned With, 2010 Installation view, MASS MoCA, North Adams Mixed media Dimensions variable Courtesy of the artist

WENDY WHITE* February 18 ALICE CHANNER February 27

November 18

SFAI’s Exhibitions and Public Programs are made possible by the generosity of donors and sponsors. Major support is provided by Grants for the Arts/San Francisco Hotel Tax Fund. Program support is provided by the Harker Fund of The San Francisco Foundation, The Andy Warhol Foundation for the Visual Arts, and West Coast Vending and Food Service, Inc. The Distinguished Visiting Fellowship for Interdisciplinary Painting Practices is funded by the Winifred Johnson Clive Foundation. Ongoing support is provided by the McBean Distinguished Lecture and Residency Fund, The Buck Fund, and the Visiting Artists Fund of the SFAI Endowment.

IÑIGO MANGLANO-OVALLE April 3 JAMES BENNING April 14 BASIL TWIST April 24 *Winifred Johnson Clive Foundation Distinguished Visiting Fellow for Interdisciplinary Painting Practices

143

Studio of Claudia Constance Martin

KATIE ANANIA is a historian of postwar

ROBIN BALLIGER , PhD, is a cultural

TIMOTHY BERRY’s hybrid paintings/prints

American and European art. Her doctoral dis-

anthropologist whose research interests include

reflect, through both process and content, a visual

sertation, which has earned awards from Getty

globalization, geography, media, music/sound,

inquiry into such symbolically loaded material as

Research Institute, Sallie Bingham Center for

postcolonial theory, and the Caribbean; she is

nature provides, as a way to take past experi-

Women’s History and Culture, Friends of the

currently researching urban cultural politics in

ence and expand upon it in a larger context that

University of Wisconsin-Madison Libraries, and

Oakland. She has received fellowships from

is resonant for our times. His latest work will be

Georgia O’Keeffe Museum Research Center, exam-

Fulbright, the MacArthur Foundation, the Na-

exhibited in a solo show at B. Sakata Garo, Sacra-

ines the confluence of new drawing strategies and

tional Science Foundation, and the Andrew W.

mento, California, in 2014.

expanding notions of interpersonal communica-

Mellon Foundation, and was awarded the Textor

tion and disclosure in 1960s urban America. Her

Award for Outstanding Anthropological Creativ-

MATT BORRUSO is a visual artist who lives

criticism has appeared in Artweek, American Craft,

ity. Balliger’s publications appear in The Global

and works in San Francisco. Recent solo shows

Pastelegram, ...might be good, and Artforum.com.

Resistance Reader, Trinidad Carnival: The Cultural

include The Hermit’s Revenge Fantasy at Steven

In addition to her dissertation, she is currently

Politics of a Transnational Festival, Anthropological

Wolf Fine Arts and Return to Holy Mountain at

co-editing a volume of essays on transnational

Forum, and Media Fields Journal.

2nd Floor Projects, both in San Francisco. His

feminist art.

ZEINA BARAKEH ’s artwork examines

work has been included in exhibitions at the Manhattan Cultural Council, Derek Eller, and

SAMPADA ARANKE , PhD, works at the

how people and spaces become polarized dur-

Anna Kustera, in New York; the San Francisco

intersection of critical race studies, performance

ing binary divisions. Through animation, digital

Arts Commission Gallery; Headlands Center for

studies, and visual culture. Her dissertation, Black

media, and archival installations, she interrogates

the Arts, Sausalito, California; and Exile Projects,

Power/Black Death: The Visual Culture of Death

constructions of identity, history, memory, and

Berlin; among others.

and Dying in Black Radical Politics, interrogates

territory. Selected exhibitions include Room for

how corpses and corporeality are an under-

Big Ideas: The Chasm Arena, Yerba Buena Center

PEGAN BROOKE makes paintings inspired

theorized performative site for thinking through

for the Arts, San Francisco; Women Redraw-

by her studio environs in Bolinas, California, and

1960s revolutionary politics, the black body, and

ing the World Stage, SOHO20 Chelsea Gallery,

Ketchum, Idaho, and maintains a parallel practice

radical print media. Her work has appeared in

New York; The Fertile Crescent: Gender, Art, and

of creating video/poems filmed near the Aven

Trans-Scripts: An Interdisciplinary Online Journal

Society, Bernstein Gallery, Princeton University;

River in Pont-Aven, France. Light falling on water

in the Humanities and Social Sciences and Ecquid

Facettes, Espace SD, Beirut; Internal Exile: From

as visual metaphor for the fleeting quality of

Novi: African Journalism Studies.

Palestine to the USA to Mexico, SOMArts Bay

experience is a central theme of the work. Brooke

Gallery, San Francisco; Passages, Theater Artaud,

has exhibited extensively, and her work is owned

NICOLE ARCHER , PhD, Chair, Bachelor of

San Francisco; The Third-Half, The Public Theater,

by the Solomon R. Guggenheim Museum, New

Arts Department. Archer researches contempo-

New York; and Jaffa Mangoes, Ictus Gallery, San

York; the San Francisco Museum of Modern Art;

rary art and material culture, with an emphasis

Francisco. Barakeh will be an artist in residence

Des Moines Art Museum; Swig Collection, San

in modern textile and garment histories. She also

at the Brodsky Center for Innovative Editions at

Francisco; and Anderson Collection, Menlo Park,

concentrates on critical and psychoanalytic theo-

Rutgers University in 2014.

California. Her work has been widely reviewed in

ry, corporeal feminism, and performance studies.

Art in America, The New York Times, and Artweek.

In her teaching, she explores the relations of

JD BELTRAN is a conceptual artist, film-

politics and aesthetics through close examinations

maker, writer, designer, and curator. She received

BRAD BROWN is an artist working primarily

of style, embodiment, and desire. Archer’s work

the Artadia Grant and Skowhegan Residency, and

in drawings and works on paper. His drawing

has appeared in Textile: The Journal of Cloth and

has exhibited internationally, including at The

projects tend to be large open-ended series that

Culture and Working for Justice: The L.A. Model of

Getty Research Institute, Los Angeles; Walker Art

can remain unfinished for years. His largest proj-

Organizing and Advocacy. She is currently working

Center, Minneapolis; the San Francisco Museum

ect to date, The Look Stains, began in 1987 and

on a manuscript, entitled A Looming Possibility:

of Modern Art; Cité des Ondes Vidéo et Art

consists of tens of thousands of works on paper

Towards a Theory of the Textile, that considers

Électronique, Montreal; ProArte, Saint Petersburg,

that are continually worked on, torn up, redrawn,

how critical understandings and uses of textiles

Russia; and at the 2006, 2008, and 2012 ZERO1

and recontextualized. His work is in the perma-

can challenge and extend poststructuralist theo-

Biennials, San Jose, California. She has written

nent collections of the Museum of Modern Art,

ries of the text.

columns on art and culture for both SFGate.com

New York; the San Francisco Museum of Modern

and The Huffington Post, and is president of the

Art; The National Gallery, Washington, D.C.;

San Francisco Arts Commission.

Whitney Museum of American Art, New York; Legion of Honor, San Francisco; Arkansas Art

RICHARD BERGER has taught at SFAI

Museum, Littlerock; and Boise Art Museum, Idaho;

since 1971. He received a National Endowment

among others.

for the Arts Award in 1980 and the Adeline Kent Award in 2004. Primarily a sculptor, he has recently added video and digital fabrication processes to his production and is currently engaged in research and a scale-model reconstruction of the Sun Temple at Konarak in the Indian state of Orissa.

145

DALE CARRICO teaches philosophy, criti-

LINDA CONNOR is a photographer and

DEWEY CRUMPLER ’s work examines is-

cal theory, and science and technology studies,

dedicated educator who approaches both roles

sues of globalization and cultural commodification

focusing on the planetarity of both environmental

by enlisting the power of images—the ways they

through the integration of digital imagery, video,

concerns and peer-to-peer media formations. Re-

communicate, their unique properties, and how

and traditional painting techniques. His work has

cently, Carrico organized conferences on feminist

they interrelate. She has exhibited widely for

been exhibited nationally and internationally, and

bioethics at UC Berkeley and on human “enhance-

the last four decades, both internationally and

is featured in the permanent collections of the

ment” and human rights at Stanford. His writings

nationally, and is the recipient of many awards and

Oakland Museum of California; the Triton Museum

have appeared in Existenz, Re-Public, World

grants, including a Guggenheim Fellowship and

of Art, Santa Clara, California; and the California

Changing, and The Foundation for Peer to Peer

multiple grants from the National Endowment for

African American Museum, Los Angeles. Crumpler

Alternatives. He writes about the politics of tech-

the Arts. In 2002, she founded PhotoAlliance. She

has received a Flintridge Foundation Award, a

noscience, developmentalist ideology, futurologi-

has been a driving force in the Bay Area’s photo-

National Endowment for the Arts Fellowship,

cal subcultures, and the suffusion of public life by

graphic community and has helped to make that

and a Eureka Fellowship from the Fleishhacker

marketing norms on his blog, Amor Mundi.

community accessible to her students.

Foundation.

JOHN CHIARA is a San Francisco–based

KEVIN E. CONSEY’s research interests are

CLAIRE DAIGLE , PhD, Chair, Master of

photographer working in large-format, unique, no-

in the leadership, management, organization, busi-

Arts Department. Daigle is a writer, art historian,

film photographs that are viscerally evocative of

ness, and ethical practices of art museums and art

and critic whose work has appeared in New Art

place, presence, and materiality. Chiara has been

institutions, as well as other nonprofit organiza-

Examiner, X-tra, Art Papers, Sculpture, Brooklyn

an artist in residence at Crown Point Press, San

tions. He is interested in issues related to freedom

Rail, and Tate, etc. She was a fellow in critical

Francisco; Gallery Four, Baltimore; and Headlands

of expression, the business and organization of art

studies at the Whitney Museum of American Art

Center for the Arts, Sausalito, California. In 2011,

museums, film as art, and contemporary practice

Independent Study Program, New York, and holds

his Bridge Project was commissioned by The

in art museums in relation to current events.

a PhD in art history from the Graduate Center of

Pilara Foundation in San Francisco and included

Consey has been a museum curator or director for

the City University of New York. Her dissertation,

in the Pier 24 Photography exhibition HERE. In

35 years, and has held positions at the National

Reading Barthes/Writing Twombly, was received

2012, Chiara was one of 13 international artists

Gallery of Art, Washington, D.C.; the Solomon R.

with distinction. Her interests form a constellation

whose work was included in the exhibition Crown

Guggenheim Museum, New York; Museum of Con-

around word and image relationships (between

Point Press at Fifty at the de Young Museum,

temporary Art, Chicago; and Berkeley Art Museum

theory and practice, experience and verbal articu-

San Francisco. Chiara’s work has also recently

and Pacific Film Archive; among other institutions.

lation—particularly as related to color; documen-

been included in the exhibitions Twisted Sisters:

He is currently Executive Vice President of the

tation; archival and everyday practices; between

Reimaging Urban Portraiture, Museum Bärengasse,

Harriet and Esteban Vicente Foundation, New

contemporary literature and art; and among

Zurich; and Staking Claim: A California Invitational,

York and Madrid.

marks, script, and signs).

a triennial exhibition at the Museum of Photographic Arts, San Diego.

ANNE COLVIN is a Scottish artist based in

CHRISTOPHER COPPOLA , Director

JOHN DE FAZIO ’s recent work involves

of Film. Coppola is a film producer, director,

the creation of “super objects”—handmade objects

screenwriter, and digital film entrepreneur. His

of desire that encode layers of meaning through

San Francisco who works primarily with the mov-

company, Christopher R. Coppola Enterprises,

the obsessive processes involved in their concep-

ing image. Working with a combination of found

produces feature films, episodic television, and

tion and production. These forms have included

footage and her own filmic observations, Colvin’s

alternative media. He is the founder of Project

ceramic funerary urns, distorted mannequins, clay

work has a heightened awareness of time, frame,

Accessible Hollywood, a hands-on, nonprofit,

pipes and hookahs, toilet fountains, and confer-

texture, and gesture. Most recent exhibitions

international digital-filmmaking festival for both

ence room tables. In 2012, de Fazio’s work was

include The Shape of a Pocket: Anne Colvin and

non-filmmakers and student filmmakers. He

featured in the exhibition Shifting Paradigms in

Margaret Tait, Mills College Art Museum, Oakland;

speaks at film festivals, cinema education confer-

Contemporary Ceramics at the Museum of Fine

One Minute Film Festival: 10 Years, MASS MoCA;

ences, and film expos around the world. He is a

Arts, Houston, with a catalogue published by Yale

The Very Eye of Night, Jancar Gallery, Los Ange-

member of the Directors Guild of America, Screen

University Press. His work is in the collections of

les; Fits and Starts, Agency, Los Angeles; System

Actors Guild, and the California Arts Council.

the Whitney Museum, New York; the de Young

Operations, in conjunction with the ZERO1 Bien-

Museum, San Francisco; and MTV Networks,

nial, Eli Ridgway Gallery, San Francisco; Modern

New York.

Edinburgh Film School, Edinburgh Sculpture Workshop, Scotland; As Yet Untitled, SF Camerawork; and Long Play: Bruce Conner and The Singles Collection, the San Francisco Museum of Modern Art. Colvin also recently completed a residency at the Center for Contemporary Arts, Glasgow.

JOSEPH DEL PESCO has been the direc-

LAURA FANTONE , PhD, is an urban eth-

SHARON GRACE works in analogue/digital

tor of the Kadist Art Foundation in San Francisco

nographer from Italy. She teaches urban studies

installation, performance/video, and sculpture

since 2010. Previous to this post, he produced an

and gender and women’s studies at UC Berkeley

in stone and steel. Grace’s concept-driven work

experimental education program called The Pick-

and SFAI. Her past work, funded by Fulbright and

engages explorations of presence and absence.

pocket Almanack for the San Francisco Museum

Spencer grants, addresses gender and visual poli-

Her awards include a National Endowment for the

of Modern Art, and worked as an adjunct curator

tics, digital cultures, postcoloniality, orientalism,

Arts Award, an Award of Honor for Outstanding

at Artists Space, New York. His exhibition projects

and globalization. Fantone is currently researching

Achievement from the City of San Francisco, a

Feral Share, Black Market Type & Print Shop, and

Asian diasporas in California. Her writing has been

Rockefeller Foundation Award, and a William and

Collective Foundation explored experimental

published in Feminist Theory, Digital Creativ-

Flora Hewlett Foundation Grant. At NASA/AMES,

institutional strategies, and his publishing projects

ity, and Feminist Review, and her documentary,

she was artist/project leader for SEND/RECEIVE,

In Protest, Anecdote Archive, and Kapsul.org have

Re-Sisters, has recently been distributed in the

the first satellite artists’ network. She has exhib-

considered new modes of collaboration, distribu-

United States. Her new book, edited with Paola

ited at the Metro Opera, Madrid; in Informatique

tion, and circulation.

Bacchetta, TRANS Q FEM, essays on queer and

at the Venice Biennale; and at the Museum of

transnational feminisms is being published in

Modern Art, New York.

RAISSA DESMET, PhD, writes about colonialism and the visual and literary cultures of

Italian in 2014.

ALEXANDER GREENHOUGH is a film-

Southeast Asia, with a focus on Indonesia. Her

RUDOLF FRIELING , PhD, is curator of

maker and a doctoral candidate in the Department

research interests include Orientalism, race and

media arts at the San Francisco Museum of

of Art and Art History at Stanford University. His

the sensorial, and multigenre writing/experimen-

Modern Art (SFMOMA). His curatorial projects

writing has appeared in Metro, Film Criticism, and

tal criticism. In her teaching, she explores theories

include the online archive Media Art Net; the

Quarterly Review of Film and Video. His three fea-

of embodiment in relation to colonialism and its

SFMOMA exhibitions The Art of Participation:

ture films, I Think I’m Going, Murmurs, and Kissy

aftermath, as well as contemporary feminist art

1950 to Now (a major survey of the history of

Kissy, were all set and produced in New Zealand.

practices. Her work has appeared in Encounters:

contemporary participatory practice) and Stage

He has received grants from the Arts Council of

People of Asian Descent Writing in the Americas.

Presence: Theatricality in Art and Media; as well

New Zealand, Toi Aotearoa, and the New Zealand

as numerous monographic exhibitions.

Film Commission.

ANDREA DOOLEY, PhD. Dooley’s work currently focuses on genocide memorials in

CHRISTIAN L. FROCK is an independent

TANIA HAMMIDI , PhD is an artist, writer,

Rwanda as a space for reckoning with state

curator and writer. Her work focuses on artists

and the founder of Queerture: Queer + Couture,

violence and the recalibration of postconflict

at work in public space, with an interest in social

an organization highlighting LGBTQIA fashion de-

identity. Her most recent essay “We Are All

justice issues and shifting private/public dynam-

sign, illustration, modeling, and style innovations.

Rwandans: Repatriation, National Identity, and

ics. Invisible Venue, the curatorial enterprise Frock

Queerture has been highlighted by The Huffington

the Plight of Rwanda’s Children” was published in

founded and has directed since 2005, collabo-

Post and ONE Archives Foundation, and was in-

The Journal of Human Rights. She is the recipient

rates with artists to present art in unexpected

vited to organize a closing fashion show at UCLA’s

of the University of California President’s

settings. She is a regular contributor to KQED

annual Queer Conference in 2012. Hammidi’s

Predoctoral Fellowship, and an African Studies

Arts and San Francisco Arts Monthly. Her writing

dissertation at UC Riverside, Dress, Dance, Desire:

Research Fellowship.

has also been featured in Art & Education, art ltd.

Statecraft and the Dressed, Dancing Body, focused on masculinities, social justice, gender/sexuality/

CAROLYN DUFFEY, PhD, works in liter-

magazine, Art Practical, Daily Serving, Fillip, NPR. org, and Open Space: SFMOMA, among other

race, butch identities, and the role of textiles/

ary and cultural studies. Her research interests

venues.

costume in the production of choreography in

include the Caribbean and the Maghreb; race,

contemporary queer performance. Hammidi’s re-

ethnicity, and gender in literature of the Americas;

JACK FULTON ’s studio practice engages art

cent publications include “Harrison House: Sacred

the history of Islam in Europe; French medieval

history and culture, literature and poetry, and is

Architecture” in Conversations Across the Field of

poetry and history; postcolonial and feminist

illuminated by science and ecology. Current proj-

Dance Studies; Judgment Day: Fashioning Alterna-

theory; and urban studies. She has received a

ects include Suite Nevada, Odes of Pablo Neruda,

tive Masculinites; “Sapphic Screen: Studs on the

French Government Scholarship for study in Paris,

Britain to Morocco, Home as Place, and Peru &

Big Screen” and “Canonizing Ani Difranco,” both in

UC Berkeley and Columbia University research

Ladakh: High Altitude. His work has recently been

Curve Magazine.

grants, and was named a Knight Fellows Favorite

shown at the Menil Collection, Houston; the

Professor at Stanford University. Her recent

Museum of Contemporary Art, Denver; and

essays appear in Ma Comère, Journal of Carib-

Gemini GEL, Los Angeles. Fulton’s publications

bean Literatures, Women in French Studies, and

have stressed alternative living and architecture

Pacific Coast Philology. She is currently preparing

from the 1960s and 1970s and include Shelter,

a paper for publication that she presented at the

Spaced Out: Radical Environments of the

International Conference of the Regional Studies

Psychedelic Sixties, and Praxis (Issue #13).

Association at UCLA, Global Urbanization: Challenges and Prospects, entitled “Port-au-Prince: Post-Earthquake Aesthetics and the Space, Place, and Politics of Jalousie and Grand Rue.”

147

LYNN HERSHMAN LEESON ’s artwork

MILDRED HOWARD, known for sculptural

is featured in the public collections of the

installations and mixed-media works, is the recipi-

action, and curatorial influence. In this capacity,

Museum of Modern Art, New York; Tate Modern,

ent of numerous awards, including the Adaline

she has curated eight exhibitions with more than

London; National Gallery of Canada, Ottawa;

Kent Award from SFAI; a Joan Mitchell Founda-

100 local and international artists.

Walker Art Center, Minneapolis; and in many cel-

tion Fellowship; a National Endowment for the

ebrated private collections. Hershman Leeson has

Arts Award in Sculpture; the Anonymous Was a

JENNIFER M. KROOT directed the

recently been honored with grants from Creative

Woman Award; and the Rockefeller Fellowship to

new documentary feature To Be Takei about the

Capital, National Endowment for the Arts, Nathan

Bellagio, Italy. She has exhibited in Paris, Berlin,

iconic actor and activist George Takei, which

Cummings Foundation, and the Alfred P. Sloan

Cairo, and Bath, England; and has mounted instal-

premiered at the Sundance Film Festival in 2014.

Foundation. A museum retrospective and cata-

lations at Arte Laguna, Venice, Italy; Museum of

Kroot also directed It Came from Kuchar about

logue will be held at ZKM Museum in Karlsruhe,

Glass, Tacoma, Washington; Creative Time, New

the legendary underground filmmaking twins,

Germany, in 2014.

York; inSITE, San Diego; and the San Jose Museum

and SFAI faculty, George and Mike Kuchar, which

of Art. Howard has also completed public art

premiered at SXSW Film Festival in 2009 and

specificity and the relationship of site, object,

BETTI-SUE HERTZ is director of visual

projects with the San Francisco Redevelopment

won in the category of Best Documentary at both

arts at Yerba Buena Center for the Arts, San

Agency, Glide Foundation Affordable Housing

the Chicago Underground Film Festival and the

Francisco. Her curatorial and scholarly

Program, San Francisco International Airport, and

Boston Underground Film Festival. She also wrote,

projects are fueled by the intersection of visual

the Elihu M. Harris State Office Building, Oakland.

directed, and starred in the gender bending, sci-fi,

aesthetics and socially relevant ideas, where

narrative feature Sirens of the 23rd Century. She

emotional content is filtered through intellectual

JASON JÄGEL is a visual artist interested

machinations. Recent exhibitions and cata-

in narrative as a core function of perception and

dation for the Visual Arts, Creative Work Fund,

logues include Dissident Futures; Nayland Blake:

human interaction. Largely informed by music, fic-

Frameline, the Pacific Pioneer Fund, California

FREE!LOVE!TOOL!BOX!; The Matter Within: New

tion, comics, and film, his work in painting, draw-

Civil Liberties Public Education Program, and the

Contemporary Art of India; Song Dong: Dad and

ing, sculpture, and installation has been exhibited

Fleishhacker Foundation.

Mom, Don’t Worry About Us, We Are All Well;

nationally and internationally since 1995. Jägel’s

and Renée Green: Endless Dreams and Time-

work is held in the collections of the Museum of

CHRIS KUBICK is an artist, composer,

Modern Art, New York; the San Francisco Museum

and sound designer who works under a variety

Based Streams.

has received grants from the Andy Warhol Foun-

of Modern Art; the Hammer Museum, Los Angeles;

of pseudonyms, including Language Removal

JUSTIN CHARLES HOOVER is a

and the Portland Museum of Art, among others.

Services and Many Many More Than One. Kubick

practicing artist dealing with cultural transloca-

In 2012, he was awarded a fellowship from The

frequently collaborates with Anne Walsh, and

tion through body-based performance, video, and

Pollock-Krasner Foundation.

together they have created ARCHIVE, whose

installation. He has performed and exhibited his

best-known project, entitled Art After Death,

work at the 2012 Venice Architecture Biennale;

PAUL KLEIN , Chair, Bachelor of Arts Depart-

the San Francisco Museum of Modern Art; the San

ment. Klein’s teaching and collaborative studio

conducted through spirit mediums. Together their

Jose Museum of Art; Art Life Festival, Guangzhou,

practices foster understandings of how viewers,

work has appeared in the 2002 Whitney Biennial,

China; Time Based Arts Festival, Portland Institute

media, and society create meaning in specific

New York; Yerba Buena Center for the Arts, San

for Contemporary Art; Yerba Buena Center for

and cross-cultural contexts. Klein also works

Francisco; the Museum of Contemporary Art, Los

the Arts, San Francisco; the Berkeley Art Museum

concurrently as a design strategist and research

Angeles; and the Royal College of Art, London.

and Pacific Film Archive; and many other venues.

developer. He has presented his work at the 2012

Kubick has been heard on public radio in the

Additionally, Hoover works as curator and gallery

International Conference on Design Principles

United States, Canada, and Great Britain.

director of SOMArts Cultural Center where he

and Practices in Los Angeles, and was recently

designs and directs collaborative and community-

included in In Transition Russia: Cultural Identi-

TONY LABAT, Chair, Master of Fine Arts

ties in the Age of Transnational and Transcultural

Department. Since the early eighties, Labat has

driven curatorial projects.

consists of interviews with artists who have died

Flux, National Centre for Contemporary Arts,

developed a body of work in performance, video,

FIONA HOVENDEN , PhD, is a scholar of

Moscow. He was also the recipient of a National

sculpture, and installation. His work has dealt with

the dynamics of change. Her research interests

Endowment for the Humanities Summer Institute

the body, popular culture, identity, urban rela-

include the psychology of transformation, critical

Residency in Italy.

tions, politics, and the media. A pioneer of video

analysis of the role of the future, and the use of

installations, Labat has exhibited internationally

her company, Collective Invention, she creates

EMMANUELLE NAMONT KOUZNETSOV is an artist, curator, and

immersive visions of the future to help provoke a

educator whose work marries sculpture, photog-

public collections. Recent exhibitions include the

reassessment of possibility through lived experi-

raphy, and performance in an exploration of the

11th Havana Biennial; Barbara Gladstone Gallery,

ence. As a veteran ethnographer, Hovenden values

ever-shifting concepts of identity and portraiture.

New York; Gallery Paule Anglim, San Francisco;

attention to the personal, political choices of the

Her work reclaims the corporeal presence and re-

Museum of Contemporary Art, Los Angeles;

everyday, and the ways in which these mediate

veals the crude state of our closest relationships.

Museum of Contemporary Art, Denver; and

social and political visions. She is co-editor of The

Kouznetsov co-directs OFF Space—a nomadic

Atlanta Contemporary Art Center.

Gendered Cyborg: A Reader.

curatorial organization exploring real world site-

art to create social and personal change. With

over the last 30 years, received numerous awards and grants, and his work is in many private and

KERRY LAITALA is an award-winning,

MADS LYNNERUP was born in Copenha-

FRANCES McCORMACK is an abstract

moving-image artist who uses analogue, digital,

gen, Denmark. Lynnerup has shown his work at

painter whose work draws on the history of

and hybrid forms to investigate the ways in which

the San Francisco Museum of Modern Art; The

gardens and landscape design. She was the

media influences culture-at-large. Laitala’s work

Mori Art Museum, Tokyo; MoMA PS1, New York;

recipient of the first SFAI faculty residency at the

resides at the intersections of science, technol-

Zacheta National Gallery of Art, Warsaw; and Los

American Academy in Rome, and was the curator

ogy, and her uncanny approach to evolving sys-

Angeles County Museum of Art, among others.

of the exhibition Silence, Exile, and Cunning for

tems of belief through installation, photography,

Lynnerup was recently commissioned to produce

the Sonoma Valley Museum of Art. McCormack

paracinema, performance, kinetic sculpture, and

two new videos for FOKUS 2014, Copenhagen,

recently collaborated with the San Francisco

single-channel forms. She continues to explore

where he designed a custom-built room that

composer Kurt Rohde and the writer Sue Moon

expanded cinema territories to create cinematic

allows viewers to manually move the projection

to produce a series of videos for the multimedia

sculptures that move beyond the screen. She

screen in order to view the videos. Lynnerup’s

work Artifacts, which opened at the San Francisco

recently performed an expanded cinema

work has won numerous awards, such as the Bay

Conservatory of Music in 2012 and is currently

work entitled Trip the Light Fantastic at The

Area Award, a Eureka Fellowship from the Fleish-

traveling to venues on the East Coast. McCormack

Exploratorium, San Francisco.

hacker Foundation, an Artadia Award, the Toby

is represented by Elins Eagles-Smith Gallery,

Devan Lewis Fellowship Award, and a Danish Art

San Francisco, and R. B. Stevenson Gallery,

Council Grant.

La Jolla, California.

CHRISTINA LINDEN is associate curator of painting and sculpture at the Oakland Museum of California. Her recent work has focused on

TOM MARIONI is most known for his social

IAN McDONALD ’s work addresses the

social practice, public space, the environment,

practice work The Act of Drinking Beer with

relationships and mechanics between cultural

and art in the Bay Area. Published writing has

Friends Is the Highest Form of Art, which debuted

characteristics and design and craft character-

appeared in ARTLIES, Art Practical, Daily Serving,

at the Oakland Museum in 1970. He is the founder

istics. Playing with issues of usability, durability,

Fillip, Modern Painters Magazine, Paletten, Women

and director of the Museum of Conceptual Art

and worth, McDonald’s projects address cultural

& Performance: a journal of feminist theory, and

(MOCA), the editor of Vision magazine (1975–

attitudes, the ubiquity of everyday objects, and

numerous artists’ books and exhibition catalogues.

1981), and was the subject of a retrospective at

an overall attraction to everyday goods. He has

She holds a BA from New York University and

the Contemporary Arts Center, Cincinnati. His

exhibited throughout the United States and Eu-

an MA from the Center for Curatorial Studies,

work has been exhibited across the United States,

rope, including solo exhibitions at Rena Bransten

Bard College.

Europe, and Japan; and he is the recipient of a

Gallery, San Francisco, and Play Mountain, Tokyo.

Guggenheim Fellowship. He is currently a contrib-

In 2007, he was awarded the Premio Faenza by

uting editor at SFAQ.

the International Museum of Ceramics in Faenza,

JENNIFER LOCKE composes physically intense actions in relation to the camera and spe-

Italy. His work has appeared in numerous publica-

cific architecture in order to explore hierarchies

ROCKY McCORKLE researches 8x10

tions, including Artforum, Art Week, and Brutus

between artist, model, camera, and audience.

photography and cinematography, with an

magazine, Japan.

Working in video, photography, and installation-

emphasis on fiction and redefining the museum

based performance, her actions focus on cycles of

experience. He also concentrates on full-focus

SEAN McFARLAND is an artist whose

physicality, duration, and visibility. Recent exhibi-

photography, his own patent-pending method of

work explores the relationships between image-

tion venues include Los Angeles Contemporary

creating photographs that are completely in focus

making, artifice, photographic truth, and repre-

Exhibitions (LACE); Rocksbox Fine Art, Portland;

and absent of blur. In his teaching, he explores the

sentation. He is the recipient of the 2009 Baum

Yerba Buena Center for the Arts, San Francisco;

blending of many things: old formats with new,

Award for an Emerging American Photographer,

and the San Francisco Museum of Modern Art.

motion pictures with still, and linear narratives

the 2009 John Gutmann Photography Fellowship,

Locke was awarded a 2012 Eureka Fellowship from

with conceptual storytelling. McCorkle’s work is

and a Eureka Fellowship from the Fleishhacker

the Fleishhacker Foundation.

in the permanent collections of the Berkeley Art

Foundation. He has exhibited locally and interna-

Museum and Pacific Film Archive and the Tweed

tionally, including solo and group exhibitions at

Museum of Art, Duluth, Minnesota.

Stephen Wirtz Gallery, San Francisco; Eli Ridgway

REAGAN LOUIE ’s photography and installations explore global transformation and

Gallery, San Francisco; Yerba Buena Center for the

cultural identity. His work has been exhibited at

Arts, San Francisco; and the San Francisco Muse-

the Museum of Modern Art, New York; the San

um of Modern Art. His work is in the collections of

Francisco Museum of Modern Art; Gwangju

the Oakland Museum, the San Francisco Museum

Biennale, Korea; Asia Society, New York; and

of Modern Art, the Berkeley Art Museum and

Fotomuseum Winterthur, Switzerland. His books

Pacific Film Archive, and the Whitney Museum of

include Toward a Truer Life and Orientalia. His

American Art Library, New York.

awards include a Guggenheim Fellowship and a Fulbright Fellowship.

149

CAITLIN MITCHELL-DAYTON ’s large-

JENNIFER RISSLER , Associate Dean for

JOHN ROLOFF ’s recent work includes

scale paintings hew closely to the formal param-

Academic Affairs. Rissler’s research on fine art

public projects in Oakland, Minneapolis, and

eters of traditional portraiture, informed by tropes

curricular histories includes “Shared Legacies:

Atlantic City, as well as exhibitions for the Denver

drawn from comic books, illustration, and fashion

Black Mountain College and Its Influence on Post-

Art Museum, and Habitats at the Presidio, San

advertising. Her subjects function simultaneously

Studio Art Education” presented at Re-Viewing

Francisco. He has shown at the Whitney Museum

as individuals and as blends of cultural types

Black Mountain College: An International Confer-

of American Art, New York; Berkeley Art Museum

drawn from fictional narratives, lived experience,

ence, University of North Carolina, Asheville. Her

and Pacific Film Archive; the San Francisco

and an ideal concept of personality. Her work has

photographic work Self-Served was published in

Museum of Modern Art; the Smithsonian Institu-

been exhibited at the San Francisco Museum of

Aroused: A Collection of Erotic Writing, edited by

tion, Washington, D.C.; the Venice Architectural

Modern Art; the de Young Museum, Yerba Buena

Karen Finley. Rissler has presented widely on top-

and Art Biennales; and The Snow Show in Kemi,

Center for the Arts, John Berggruen Gallery, and

ics of program assessment and professional prac-

Finland. He is a recipient of fellowships from the

Gallery Paule Anglim, all in San Francisco; at the

tices within the visual arts, for the Association of

National Endowment for the Arts, the Guggen-

Lizabeth Oliveria Gallery and Rosamund Felsen

Independent Colleges of Art and Design (AICAD)

heim Foundation, the California Arts Council, and

Gallery in Los Angeles; and at The Drawing Cen-

and the College Art Association (CAA). She is

the Bernard Osher Foundation.

ter in New York.

President Emerita of ArtTable, a New York–based

JEREMY MORGAN ’s paintings are investigations into both Western and Asian landscape

national nonprofit dedicated to the visual arts and

KATE RUDDLE ’s fabric sculptures and in-

to advancing women’s leadership in the field.

stallations consist of sewn and manipulated fabric often combined with photographic images or

traditions as they relate to notions of abstraction

WILL ROGAN is a sculptor and photogra-

and philosophical-spiritual contexts. Primarily a

pher. His work deals with the passing of time, the

serve to control, wrap, and define people in a

painter, Morgan’s work also utilizes aspects of

materiality and history of objects, and our rela-

social structure. Since teaching Sustainable Sculp-

digital technology to further explore the shifting

tionship to matter and images. Rogan’s work has

ture, a course and exhibition funded by a grant

terrain between the virtual and “real.” His work

been shown internationally; he currently shows

from Levi Strauss & Co., sustainable practices

is in the collections of the China National

with Laurel Gitlen Gallery, New York, and Altman

are integrated throughout her teaching. In 2013,

Academy, Beijing; Luxan Academy of Fine Arts,

Siegel Gallery, San Francisco. He is a recipient of

Ruddle was a contributor to Contemporary Artists

China; Lucent Technologies, California; and

the SECA Art Award from the San Francisco Mu-

Magazine in Chongqing, China, with the essay

Beringer Wineries, St. Helena, California.

seum of Modern Art, and a MacArthur Foundation

Experiment and Concept: Teaching, Learning, and

Media Arts Fellowship.

Making at the San Francisco Art Institute.

J. JOHN PRIOLA’s photography and video

video. Her studio practice explores how trappings

work reveals the subtle details of built and natural

CLARE ROJAS’s paintings concentrate

LESLIE SHOWS incorporates diverse

landscapes, depicting what presence and absence

on abstract space and blurring architectural

media such as aluminum, plexiglass, flags, sand,

look like, while vibrating in the space between

dimensionality and geometric flatness. Rojas

paint, collage, and cast sulfur in layered works

art and idea. His work has been published and

intentionally generates surfaces that describe

that explore connections between geology and

exhibited widely; selected collections include

both an architectural and psychological site of

culture, philosophies of matter, and the material-

the Metropolitan Museum of Art, New York; the

interiority—a pictorial space that is indeterminate

ity of painting. She has had solo exhibitions at the

San Francisco Museum of Modern Art; and the

enough to operate on an emotive and sensory

Scottsdale Museum of Contemporary Art, Arizona,

Museum of Fine Arts, Houston. He is represented

level. She has held solo exhibitions at Museo

and the Bemis Center for Contemporary Arts,

by Gallery Paule Anglim, San Francisco; Joseph

de Arte Contemporáneo, León, Spain; Museum

Omaha, and has exhibited her work at the San

Bellows Gallery, La Jolla, California; and Weston

Het Domein, Sittard, Netherlands; San Francisco

Francisco Museum of Modern Art; Orange County

Gallery, Carmel, California.

Art Institute; Riverside Art Museum, California;

Museum of Art; Yerba Buena Center for the Arts,

The Institute of Contemporary Art, Philadelphia;

San Francisco; and the 8th Mercosul Biennial,

BRETT REICHMAN ’s approach to realism

Knoxville Museum of Art, Tennessee; Modern

Porto Alegre, Brazil.

addresses the complexities of identity politics.

Art, London; Deitch Projects, New York; and Kavi

This inquiry into the politics of gay culture

Gupta, Chicago. Rojas is the recipient of a Project

FRANK SMIGIEL , PhD, is associate curator

critiques political correctness and cultural as-

Space Residency and Tournesol Award from the

of public programs at the San Francisco Museum

similation through images that convey a range of

Headlands Center for the Arts, a Louis Comfort

of Modern Art (SFMOMA), where he designs and

subtexts distilled through personal and political

Tiffany Foundation Grant, a Joan Brown Grant, a

implements live events, from artists’ talks and

concerns. Reichman’s paintings and drawings are

Eureka Fellowship from the Fleishhacker Founda-

public projects to visual arts–based performance

in many public collections, including the San Fran-

tion, and an Artadia Award.

and film. He has realized live work with Martha

cisco Museum of Modern Art, the Berkeley Art

Colburn, William Kentridge, OPENrestaurant,

Museum and Pacific Film Archive, and the Orange

Rebecca Solnit, Eve Sussman & the Rufus Corpora-

County Museum of Art. His work is represented

tion, Stephanie Syjuco, and Mika Tajima/New Hu-

by Gallery Paule Anglim, San Francisco, and

mans, among many others. He recently co-curated

Angles Gallery, Los Angeles.

Public Intimacy: Art and Other Ordinary Acts in South Africa for SFMOMA at Yerba Buena Center for the Arts, San Francisco.

CHRIS SOLLARS’s work revolves around

ROBERT TRUMBULL , PhD, specializes in

the reclamation and subversion of public space

twentieth-century and contemporary European

Festival, Berlin; and the Bärengasse Museum,

through interventions and performance. The

philosophy and critical theory, with a particular

Zurich. Additionally, she is a part of the collabora-

results are documented using photographs, sculp-

focus on poststructuralist and psychoanalytic

tive project Will Brown, which is currently based

ture, and video that are integrated into mixed-

theory. His research interests also include phi-

in a storefront space in San Francisco’s Mission

media installations. Awards include a Guggenheim

losophy of film, and media and film theory. He is

District. The project has been featured in

Fellowship, an Individual Artist Commission Grant

currently at work on a book on French philosopher

Artforum, Frieze, Art Practical, Artlog, KQED, and

from San Francisco Arts Commission, a Eureka

Jacques Derrida’s long engagement with Freud

The Bold Italic. They have a forthcoming solo

Fellowship from the Fleishhacker Foundation, and

and psychoanalysis. Trumball’s work has appeared

exhibition at the Berkeley Art Museum and Pacific

an Artadia Award. Selected exhibitions include

in the journal Derrida Today.

Film Archive titled MATRIX.

The Swimmer, Steven Wolf Fine Arts, San Francis-

Picture Show, Houston; Deadpan Exchange II

GRIFF WILLIAMS is a San Francisco–based

co; Trash, New Children’s Museum, San Diego; Bay

MARK VAN PROYEN ’s visual work and

Area Now 6, Yerba Buena Center for the Arts, San

written commentaries focus on satirizing the

artist whose paintings have been exhibited in

Francisco; Democracy in America, Creative Time

tragic consequences of blind faith placed in

galleries and museums worldwide, including the

at the Park Avenue Armory, New York; and C RED

economies of narcissistic reward. Since 2003,

San Diego Museum of Art, the Brooklyn Museum,

BLUE J, the San Francisco Museum of Modern Art.

he has been a corresponding editor for Art in

and Crocker Art Museum, Sacramento. He is the

America, and has contributed to a wide variety

founder and director of Gallery 16, a contem-

LAETITIA SONAMI is a sound artist and

of other publications. His most recent catalogue

porary art gallery and fine art publisher in San

performer. Her sound performances, live film

essays include Prophetic Polymathematics: The

Francisco. Since 1993, Gallery 16 has exhibited the

collaborations, and sound installations focus on

Art of Wally Hedrick and William T. Wiley, Facing

work of scores of influential contemporary artists.

issues of presence and participation. She has

Innocence: The Art of Gottfried Helnwein, and

Williams created Gallery 16 Editions, a publishing

devised new gestural controllers for performance

Cirian Logic and the Painting of Preconstruction.

imprint which has produced over 800 editions,

and applies new technologies and appropriated

His satirical novel Theda’s Island is being serialized

books, and multiples, which have included the

media to achieve an expression of immediacy

in SFAQ.

work of Lynn Hershman Leeson, Harrell Fletcher, William Kentridge, Jim Isermann, Margaret Kilgal-

through sound, places, and objects. Sonami performs worldwide and has received numerous

MARY WARDEN is an instructor of English

awards, including the Herb Alpert Award in the

Composition and English as a Second Language.

Arts, and the Foundation for Contemporary

She holds a BA from the University of Wisconsin,

JENIFER K. WOFFORD ’s creative prac-

Arts Award.

Madison, and an MA TESOL from San Francisco

tice encompasses installation, painting, drawing,

State University.

photography, video, and performance. She often

TIM SULLIVAN is a multimedia artist work-

len, Mark Grotjahn, and Ari Marcopoulos.

plays with notions of cultural difference, history,

ing primarily in video, photography, performance,

HENRY WESSEL is an American pho-

and installation. Sullivan has spent the last five

tographer noted for his descriptive yet poetic

humor. She is also one third of the artist team Mail

years completing a series of works exploring the

photographs of the vernacular landscape found

Order Brides/M.O.B. Exhibition venues include

myths and stereotypes of California as informed

in Southern California and the West. Wessel has

Berkeley Art Museum and Pacific Film Archive;

by television, film, music, and literature. He has

been honored with two Guggenheim Foundation

the San Jose Museum of Art; Yerba Buena Center

had solo exhibitions in San Francisco, Los Angeles,

grants and three fellowships from the National

for the Arts, San Francisco; Southern Exposure,

Singapore, Ireland, and Poland, and has been

Endowment for the Arts. He has had solo exhibi-

San Francisco; DePaul Art Museum, Chicago;

featured in numerous group exhibitions, including

tions at the Museum of Modern Art, New York; the

Wing Luke Museum of the Asian Pacific American

the 2006 California Biennial.

Museum of Contemporary Art, Los Angeles; and

Experience, Seattle; Manila Contemporary, Philip-

the San Francisco Museum of Modern Art. Five

pines; and Osage Gallery, Kwun Tong, Hong Kong.

and authenticity, leveraged with a healthy dose of

MEREDITH TROMBLE is an artist and

Books, a collection of his work, was published by

Awards include grants from the Fleishhacker

writer with a specialization in art, science, and

Steidl in 2006. In 2007, a monograph of his work

Foundation, Art Matters, and the Center for

technology. Her areas of interest include creative

was published by the San Francisco Museum of

Cultural Innovation, as well as artist residencies at

process and cultural histories of creativity;

Modern Art and, in 2011, his latest book WAIKIKI

KINOKINO, Norway; Living Room, Philippines; and

protocols for interdisciplinary research; collabora-

was published.

the Liguria Study Center, Italy.

tion and group dynamics (including interspecies relationships); energy; and women in new media.

LINDSEY WHITE works with video,

From 2000–2010, she worked with the artist

photography, and sculpture to model a type of

collective Stretcher, publishing an online magazine

site-gag index, playing with the language of magic

and creating performance events. Her recent

and comedy to present the unexpected and im-

projects include a long-term collaboration on

possible in everyday life. She has exhibited locally

an immersive virtual reality installation, a series

at Eli Ridgway Gallery, San Francisco International

of performances/lectures, and the blog Art and

Airport Museum, Southern Exposure, San Fran-

Shadows, funded by a grant from the Arts Writers

cisco Arts Commission, New Langton Arts, and

Grant Program of the Andy Warhol Foundation for

Headlands Center for the Arts; and nationally and

the Visual Arts.

internationally at the NY Art Book Fair; Aurora

151

SAN FRANCISCO ART INSTITUTE BOARD OF TRUSTEES & PRESIDENT’S CABINET 2013–2014

OFFICERS

TRUSTEES-AT-LARGE

PRESIDENT’S CABINET

Cynthia Plevin, Chair

Don Ed Hardy

Penelope Finnie, Vice Chair

Annie Leibovitz

Charles Desmarais President

Bonnie Levinson, Secretary

Barry McGee

Chris Tellis, Treasurer

Brent Sikkema

TRUSTEES

TRUSTEES EMERITI

Sandra de Saint Phalle

Paule Anglim

Jennifer Emerson

Gardiner Hempel

Hank Feir

Beverly James

Penelope Finnie

Howard Oringer

Diane Frankel

Paul Sack

Candace Gaudiani

Jack Schafer

Charles Hobson

Roselyne C. Swig

Michael Jackson

William Zellerbach

Teresa Johnson

Rachel Schreiber Dean and Vice President for Academic Affairs Hesse McGraw Vice President for Exhibitions and Public Programs Janette Andrawes Director of Marketing and Institutional Messaging Cynthia Perry Colebrook Vice President for Institutional Advancement

Jay Kern Bonnie Levinson

FACULTY TRUSTEES

Pamela Rorke Levy

Dewey Crumpler

Jamie Lunder

Paul Klein Espi Sanjana Chief Operating Officer

Jeff Magnin Dusan Mills Joy Ou

STUDENT REPRESENTATIVES

Cynthia Plevin

Tina Dillman Graduate Representative

Lara Ritch Elizabeth Ronn John Sanger Jeremy Stone Chris Tellis c b Watts

Studio of Marshall Elliott

Elizabeth O’Brien Vice President for Enrollment

Benjamin Ashlock Undergraduate Representative

ACKNOWLEDGMENTS

Produced by SAN FR ANCISCO ART INSTITUTE Janette Andrawes, Art Director Zeina Barakeh, Content Editor Vera Kachouh, Associate Editor

Amy Krivohlavek, Copyeditor Michelle Ramin, Editorial Assistant Mónica Vásquez Rodríguez, Editorial Assistant

Design by Trevor Hacker PRINCIPAL font designed by Trevor Hacker

Printed by Smythe & Son, San Francisco Special thanks to: Kathleen Fetner Cindy Lewis Anne Shulock

IMAGE CREDITS SFAI PAST, PRESENT, FUTURE Aerial view of the Chestnut Street Campus Photographed by Bob Campbell

Gordon Smythe

Fresco by alumna Eleanor Bates Streloff depicting Spencer Macky's life drawing class Chestnut Street Campus

SAN FR ANCISCO ART INSTITUTE (Main Campus)

Marcel Duchamp and Alfred Frankenstein (L to R) at the Western Roundtable on Modern Art

800 Chestnut Street San Francisco, CA 94133

Mural by Aaron Noble (coursework 1981–1982) and Rigo 23 (BFA, 1991) in Clarion Alley

415.771.7020

Punk wedding at the Chestnut Street Campus

SAN FR ANCISCO ART INSTITUTE (Graduate Center)

Kathryn Bigelow (BFA Painting, 1972) on the set of The Hurt Locker Courtesy of Summit Entertainment, LLC

2565 Third Street San Francisco, CA 94107 415.641.1241

SFAI.EDU Studio of Takako Matoba

Opening reception of ENERGY THAT IS ALL AROUND: Mission School Walter and McBean Galleries ARTIST STUDIOS All artist studio photographs by Joshua Band

153

MAY 15–18, 2014 OPENING RECEPTION: MAY 16, 7–9 PM SFAI artists transform the Old Mint, a National Historic Landmark, with installations in the bank vaults, ballrooms, brick-lined hallways, courtyards, and every crevice between.

$20 | ISBN: 978-0-930495-04-6