Faculty Member Cauleen Smith @ CAC Gallery | Irvine

The Warplands, Cauleen Smith 
Curated by Rhea Anastas 

Jan 14, 2017 to Mar 25, 2017

Reception: Saturday, January 14, 2017 – 

2:00pm to 5:00pm


How – right now, today – can we care for U.S. everyday social life? This exhibition combines two areas of recent work by filmmaker Cauleen Smith. For the show, Smith created a film from her research on the influence of the music and life of Alice Coltrane (1937-2007), a film visually keyed to a recording of a notable Coltrane composition. PILGRIM, 2017, joins three pieces drawn from an area of Smith’s work best described as activist response, a multiplicity of work rooted in Chicago, where Smith has lived since 2011. These works differ in their effects, taking on the locations (public, the street, the worldwide web) and functions of activism (being loud, using your body, making informal networks for self-education and information dissemination). These include LESSONS IN SEMAPHORE (2013), a digitized 16mm film and HUMAN_3.0 READING LIST (2016), an iPhone film of Smith’s essential readings as drawings. Smith’s GWENDOLYN BROOKS BANNERS for The Black Love Procession: Conduct Your Blooming (2016) took a part of a poem by Gwendolyn Brooks and mobilized it as a renegade procession that took place in Bronzeville, a historically black neighborhood. This procession responded to a controversial exhibition by an artist whose work about the death of Michael Brown was presented at a gallery in Bronzeville.


Smith was awarded the 2016 Alpert Award in visual art and was the first recipient of The Ellsworth Kelly Award from the Foundation for Contemporary Arts, given to the artist for Give It Or Leave It, a solo exhibition linked to The Warplands through research and a book. Give It Or Leave It is forthcoming at the Institute of Contemporary Art, University of Pennsylvania in 2018.


Smith is known for a group of influential films and videos, moving image installations and objects with connections to experimental film and third world cinema, structuralism and science fiction. A California native, Smith was born in Riverside, grew up in Sacramento and was educated at San Francisco State University (BA) and the University of California, Los Angeles (MFA, Film). Recent films, such as Crow Requiem and The Way Out Is the Way To, move between Smith’s active study of multiple sources and archives (avant-garde, African-American histories and improvisational music), and Smith’s personal and political response to recent and ongoing violence against people of color at the hands of the state. Press Kit



Conversation: Cauleen Smith and Rhea Anastas

Thursday, January 12, 7:30pm

7000 Santa Monica Blvd.
Hollywood, CA 90038

Cauleen Smith


From the book:
Cauleen Smith
HUMAN_3.0 READING LIST 2015-2016
Published by Corbett vs. Dempsey, Chicago © 2016

Featured image: Cauleen Smith. Processional Declaration, 2015. Courtesy of the artist and Corbett vs. Dempsey, Chicago.

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Co-Chair Dalida Benfield Launches Art & Pedagogy Initiative

24 Hour Social Studies is an art and pedagogical initiative for inauguration day. 

SOCIAL STUDIES is a required national curriculum that is designed to teach ten different essential understandings for successful democratic civic life and participation in the United States. While not perfect, the curriculum is pretty darn good.

Yet, it is obvious, given the apathy and lack of participation, the anti-social and anti-democratic divisiveness, rampant racism, sexism, lack of civic compassion, lack of understanding of the principles that underpin our government, and the voting in of a completely unqualified person to be president, who is now nominating completely unqualified people to be in his cabinet, that SOCIAL STUDIES has failed.

It’s time to pay attention, kids!

We’re organizing a remedial education project. Designed for all of us, of any age, who want to revisit some of the core principles of U.S. civil society and further, expand and push on them to include our contemporary ideals and visions of the future.

What: A 24 hour distributed “teach in” on SOCIAL STUDIES, using as a take-off point the U.S. Social Studies curriculum strands.


Including video screenings, lectures, readings, and reading discussions, this is a collaborative effort of artists, activists, and educators to build, share, and discover new knowledge based on these 10 standards.

Why: It seems that part of what has happened in the U.S. is a failure to successfully teach anything approaching these Social Studies standards. So let’s teach, learn, and unlearn, critically re-frame “Social Studies” for our collective future.

When: Midnight to midnight EST on January 20.

Who: You! And us! Join us! Participate in one of the many events and/or contribute in some way -a lecture, a reading, a video, facilitating a discussion during the day…please let us know what you could do!”

Events and discussions lead by faculty member Salome Chasnoff and past visiting artist Raul Moarquech Ferrera-Balanquet.

Check the website for further updates.

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Is this Something | Curated by Janet Kawada

Regular gallery hours are Tuesday through Saturday from 1 p.m. – 4 p.m.

Wedeman Gallery is located at 47 Myrtle Ave., Newton, MA. For more information or to submit work for exhibition consideration, please contact the gallery director, Vladimir Zimakov at  617-243-2143 or by email at [email protected].

– See more at: http://www.lasell.edu/academics/academic-centers/yamawaki-art-and-cultural-center/wedeman-art-gallery.html#sthash.BaCD50n6.dpuflatest jordan Sneakers | Air Jordan Release Dates Calendar

Alumnus Matthew Whitney Featured in “Expanded”

August 2012 alumnus Matthew Whitney’s work has been featured in Expanded, a blog focused on contemporary drawing practices.


“I am interested in the process of movement, and my current work manifests in the everyday practice of walking. My means of contextualizing these everyday practices involves drawing on paper, considered a 2D medium. It’s a form of reverse-embodiment, in which the real encounter becomes charted by the 2D. I write and draw not just by pen and paper, but also by using GPS technology to record my paths through a landscape. In other words, I am able to write text and draw images into the urban grid by the direct action of walking. This integrates yet another space: that of the digital, and in which dimensional realm do we situate the digital? We call it the “virtual”, which can be both 2D and 3D, and also neither, as we encounter it on a screen or projection or hologram. A screen is flat, but pixels have mass, and what we are seeing is representations of binary information – ones and zeroes, which actually occur as electrical pulses. Is electricity flat? As we move, we blur categorizations of 2D and 3D space, for we never fully exist in one, and we never exist anywhere for long. Rather, we pass through spaces, always feeling our way. Movement is thought of as getting from point A to point B – be it in walking, riding the bus, gardening, making things, or even sitting still. The constant of durational time makes non-movement, or being static, an impossibility. A line is sometimes understood as a point moving through space. The extent of that point though can also be thought of as a line, for as you get closer, the point becomes larger, and in a sense can be reconstituted as a line. Thus perhaps a point also cannot be considered static.”

To read full article click here.

To see more of Matthew’s work, click here.Best Authentic Sneakers | Men's Sneakers

Artist-Teacher AK Burns @ New Museum | NYC

A.K. Burns
Shabby but Thriving
January 18–April 23, 2017

New Museum
235 Bowery
New York, NY 10002


In the exhibition and residency Shabby but Thriving, A.K. Burns continues a serial work that draws on theater, science fiction, philosophy, and ecological anxieties. The project is organized around five elements: power (the sun), water, land, void, and body.

In Shabby but Thriving, commissioned by and premiering at the New Museum as part of the Department of Education and Public Engagement’s R&D Season: BODY, Burns presents the project’s next chapter, a two-channel video staged within an installation that explores the subjugation and agency of various bodies. A video, titled Living Room (2017–ongoing), is the installation’s central work; it was filmed in the New Museum’s 231 Bowery space, a prewar building adjacent to the Museum that houses the artist-in-residence studio. Moving from its basement through the stairwells (partially renovated and often bearing relics of previous eras) and into a series of found and constructed interiors, the video treats the entire building as both a stage and a metaphorical body. The building exists as a hermetic ecosystem and protagonist in the narrative of Living Room, as performers use their bodies to labor and leisure, choreograph and dialogue, bathe and subsist within this vital architectural interior. Likewise, furniture and props act as both benign objects and political subjects.

The installation includes sculptural objects that augment and animate the video’s narrative: a stripped and gutted couch outfitted with underglow, cast bags of dirt embedded with foil candies, a carpet soiled during the couch demolition, and fishing lures and lines stretched across walls.

The exhibition is curated by Johanna Burton, Keith Haring Director and Curator of Education and Public Engagement, and Sara O’Keeffe, Assistant Curator.

Public programs

Body Politic: From Rights to Resistance
Sunday, February 5, 11:30am–6:30pm

This event features information sessions with lawyers, activists, and grassroots organizers on issues centered around the body: civil disobedience, protest, healthcare, policing, prisons, immigration, and environmental contamination. Each session will focus on resource sharing and modes of resistance, and will include presentations followed by discussion with the audience. Participants include staff from Callen-Lorde Community Health Center, the Center for Constitutional Rights, the Center for Reproductive Rights, the New York Civil Liberties Union, the New York Environmental Law and Justice Project, and the Sylvia Rivera Law Project.

The Question of Quantum Feminism
Thursday, March 9, 7pm

This roundtable discussion brings together artists exploring the evolving and expansive topic of quantum feminism, and considers how an understanding of bodies as sensory systems can be a starting point for discussions around ethics and “entangled relations of difference.” Panelists include A.K. Burns, Harry Dodge, Carolyn Lazard, Anicka Yi, and Constantina Zavitsanos.

Listening Party: Poetry and Record Release for Leave No Trace
Thursday, April 20, 7pm

In celebration of A.K. Burns’ Leave No Trace (2016) this record release party includes performances and readings by artists and writers including Justin Allen, Fia Backström, CAConrad, Katherine Hubbard, and Juliana Huxtable. Leave No Trace is an experimental audio project released as a limited edition vinyl with an accompanying poem. The recording consists of two full length LP tracks that combine ambient environmental recordings, vocalization, sounds generated from various materials, and an old electric guitar. The title references wilderness ethics, pointing to questions around unregulated spaces, bodies and actions that go unrecorded, and what is natural or naturalized.

Support for A.K. Burns: Shabby but Thriving

About New Museum
The New Museum is the only museum in New York City exclusively devoted to contemporary art. Founded in 1977, the New Museum is a center for exhibitions, information, and documentation about living artists from around the world. From its beginnings as a one-room office on Hudson Street to the inauguration of its first freestanding building on the Bowery designed by SANAA in 2007, the New Museum continues to be a place of experimentation and a hub of new art and new ideas.

Featured Image:

A.K. Burns, Living Room (production still), 2017–ongoing. Two-channel HD video, color, sound, 36 minutes. Courtesy the artist and Callicoon Fine Arts. Photo: Eden Batki.

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Ulrike Müller, Pradeep Dalal, and Moyra Davey @ Callicoon NY

Former faculty members Ulrike Müller and Moyra Davey and artist-teacher Pradeep Dalal are in a group show at Callicoon in NYC.

Press release:

Compassionate Protocols

January 12 – February 19, 2017

Opening reception: Thursday, January 12th, 6 – 8pm

Photography has a familiar relationship to chance operations, happy accidents, rewarded risks and unexpected discoveries. No such serendipity applies to the sensation of cruel accident and historical derailment ever more widely shared now. And yet both occur, even together, even often.  Two titles here suggested this start: A Throw of the Dice and Museum of Chance.

Another recurring theme of photography is the desiring gaze. It can be amorous, it can be rapacious. Before we had even begun to work on our show in earnest, Dayanita Singh posted an encouraging signal in the form of an excerpt from Hervé Guibert’s collection of essays, Ghost Image. Guibert is musing on the difference between the stance required of a Nikon, for instance (upright, potentially confrontational) versus a Hasselblad (bowing over). Guibert’s observations on this difference, so germane to our project, merit quoting at length:


T. brought my attention to the fact that in posing for B.F. who works with a Hasselblad, he felt that the photographer’s gaze was less coercive, because of the deflection involved in the use of the 2 ¼ by 2 ¼ camera, where the photographer looks down with his head bent over the viewfinder in an attitude similar to contemplation (or even prayer). His gaze ricochets off a series of mirrors toward his model; a form of desire has replaced the predatory nature, the directional brutality of the 35 millimeter camera. T. compares this gaze to the equally deflected gaze that is passed from one window to another in the subway for example – when cruising someone. Filtered through its reflection, the gaze loses some of its brutality, gains in impunity… 

Books may be the natural habitat of photography, and many of the works on display speak from that ecology. But an exhibition offers a localized sociality of images, hovering from the work-a-day purpose photos can have in recognizing our own circumstances, to extraordinary perceptions. Compassionate Protocols borrows its title from another book by Guibert, The Compassion Protocol, an end of life account where Guibert is unequivocal about creative work as life-force and final witness, while dispassionately inventorying his physical decay and the search for care.

This is the second exhibition we have curated at Callicoon Fine Arts under the sign of Guibert, this time with works by Chris Curreri, Pradeep Dalal, Moyra Davey, Bracha L. Ettinger, Hadi Fallahpisheh, Alair Gomes, Hervé Guibert, William E. Jones, Catherine Lord, Ulrike Müller, Paul Mpagi Sepuya, Jason Simon, Dayanita Singh.

– Moyra Davey & Jason Simon

For additional information contact Photi Giovanis at [email protected], or call 212-219-0326.

Callicoon Fine Arts is located at 49 Delancey Street between Forsyth and Eldridge Streets. Gallery hours are Wednesday to Sunday, 10am to 6pm.latest Nike Sneakers | Air Jordan Release Dates 2020

The Animal Museum|SPOM in LA

@ The Animal Museum,
421 Colyton St. Los Angeles, CA

February 25 – April 30, 2017

Saturday, February 25, 2017, 5 – 8pm. Free.

February 26, 2017, 2 to 5 pm. $20 
w/ SPOM Slideshow presented by Carol J. Adams, + Q&A
+ “Women, Animals, and Art” Panel Discussion that includes Carol J. Adams, the curators, and artists, to address the theories found within the book. Panel moderator: Dr. Stephen Eisenman, author of The Cry of Nature: Art and the Making of Animal Rights

Thank you to our exhibit sponsors –
A Well-Fed World

Curators: Kathryn Eddy, Janell O’Rourke, L.A. Watson

The Sexual Politics of Meat (SPOM) exhibition features fourteen contemporary women artists whose work has been inspired by the eco-feminist theories presented in Carol J. Adam’s book, The Sexual Politics of Meat. The SPOM exhibition aims to not simply illustrate the ideas found in the book but instead, highlights how artists internalize theory and creates original work as a result; the exhibit will coincide with the 25th anniversary of the book.

The Sexual Politics of Meat, by Carol J. Adam’s explores the ways that women and animals are marginalized and objectified in patriarchal cultures. Through an exploration of how persons might literally and metaphorically become “pieces of meat,” Adams analyses the object-status of nonhuman animals and its relationship to the objectification of women throughout visual and literary culture.

Through their work, the artists of SPOM examine intersecting oppressions based on gender, race and species, exploring what objectification means to them personally, politically and poetically. Working in a wide variety of media the artists of SPOM ask, “How does someone become something?”

Featured artists: Nava Atlas, Patricia Denys, Kathryn Eddy, Suzy González, Hester Jones, Renee Lauzon, Maria Lux, lynn mowson, Janell O’Rourke, Valerie Callender-Scott, Angela Singer, Sunaura Taylor, L.A. Watson, Yvette Watt.Sports brands | NIKE HOMME

Faith Wilding and Viet Le Will Perform @ Arc Gallery San Francisco

As a part of F*ck U! In the Most Loving Way: A National Feminist Art exhibition at the Arc Gallery in San Francisco, running until January 21, 2017, Faith Wilding and Viet Le will perform welcome-waiting, an updated version of Wilding’s iconic Waiting. 

In the exhibition, fifty-two artists speak out against misogyny. Scheduled on the heels of a contentious Presidential election, the exhibition examines in raw detail how the artists react to patriarchy and shines a spotlight on women’s identities and embodied experiences.

Represented are national artists selected by Shannon Rose Riley, M.F.A. and Ph.D., Associate Professor and Chair of Humanities, San José State University and featured artists invited by Tanya Augsburg, PhD, Associate Professor of Humanities and Liberal Studies, San Francisco State University. These include groundbreaking artists such as Faith Wilding, Johanna Demetrakas, Karen LeCocq and Nancy Youdelman from the beginning of the feminist art movement in the early 1970s and internationally known contemporary artists Emma Sulkowicz, Violet Overn, Ester Hernandez, Rokudenashiko and Sheila Pree Bright.

List of upcoming events:


Womanhouse Reunion

Friday, January 13, 2017, 6-9 pm

At the Ninth Street Independent Film Center, 145 9th Street, San Francisco, CA

Free admission

Two videos from the 1972 landmark Womanhouse installation will be screened and original Womanhouse artists Faith Wilding, Karen LeCocq, and Nancy Youdelman together with Womanhouse documentary filmmaker Johanna Demetrakas are expected to attend.

An Afternoon of Performance with Tanya Augsburg, Faith Wilding and Viet Le 

Saturday, January 14, 2017, 1:30 – 3 pm

At the Ninth Street Independent Film Center, 145 9th Street, San Francisco, CA

Free admission

Tanya Augsburg, Ph.D. will perform Kitchen Table Talk with audience participation and Faith Wilding and Viet Le will perform welcome-waiting, an updated version of Wilding’s iconic Waiting.

F*ck U! Video Screening

Saturday, January 14, 2017, 7– 10 pm

At the Ninth Street Independent Film Center, 145 9th Street, San Francisco, CA

Free admission

Featuring Cheryl Dunye’s Black Is Blue, a video by Rokudenashiko; a video by Johanna Demetrakas, and works by video artists selected by Shannon Rose Riley, M.F.A. and Ph.D., Associate Professor and Chair of the Department of Humanities, San José State University.

Arc Gallery

1246 Folsom St. (between 8th and 9th Sts.), San Francisco, Hours: Wednesday & Thursday, 1-6 pm; Saturday, 12-3 pm, Closed Saturday, December 24 & 31

Free Admission

For more information, visit www.ncwca.org or email [email protected]Nike sneakers | GOLF NIKE SHOES

Recent Faculty Member Sowon Kwon | 4Columns Article

In 4Columns Sowon Kwon writes about Bruce Nauman’s exhibition at the Philadelphia Museum.

Here is an excerpt:

In 1968, the artist Bruce Nauman constructed a long and narrow (twenty feet by twenty inch) corridor in a borrowed Long Island studio. He then videoed himself walking inside it, while approximating and animating the contrapposto pose. Developed in classical Greek sculpture, contrapposto describes a torqueing of the human figure such that the axis of the shoulders contrasts with those of the hips, depicting a naturalistic distribution of weight in an idealized body. In Contrapposto Studies, I through VII, a new suite of installations currently on view at the Philadelphia Museum of Art, Nauman revisits this seminal performance and video, Walk with Contrapposto, in digital media.

Five HD video projections make up the installation in the main room. They show multiple moving images of the elder Nauman, his head cropped at the eyeline or jaw, and wearing a quotidian white T-shirt and blue jeans, repeatedly walking, pivoting, and turning as he did forty-eight years ago. The videos run concurrently on two facing walls—two on one, three on the other—in a continuous loop.

The framing of each repeating figure of the artist is stitched side to side and stacked in two rows to fill a long expanse, like a monumental processional frieze in video form. On the top row, a digital filter has inverted the footage to a different color palette, one resembling photographic negatives, and the motion is reversed so that the figures seem to walk backward. The camera also moves (unlike the fixed perspective in the original WWC), keeping pace with Nauman so that even as he walks, he remains central within the frame. The horizon line may shift, but the scale of the figure remains constant.

While Nauman’s figure is multiple and the walk repetitive, each frame is also discrete, with variations in movement. You might catch one figure take a longer pause than the others as if awaiting a cue; another drops his arms or momentarily disappears at a point of edit, or briefly walks off screen. Some frames are bisected, with one layer moving out of sync with the other, sometimes so much so that legs move disconcertingly in the opposite direction of the torso. In the two larger studies, the rows are further subdivided into fourteen strata. The fragmentation and disjunction this creates is jarring at first, then mesmerizing, as the fractured body mis-registers, lags, then catches up to itself briefly, abuts itself partially, then again falls in and out of alignment, again and again, from head to toe. The corresponding audio, an ambient rumbling with cavernous echoes, punctuated by tinny swishes and regular thuds, is made up of the shuffling of feet or incidental studio noise, which has undergone comparable digital manipulation in sound editing.”

To read the full article click here.

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VA alumna Patricia McInroy’s film, “Clara, Angel of the Rockies,” wins PBS award

The film, CLARA, ANGEL OF THE ROCKIES, by Patricia McInroy ’07 VA, is the winner of PBS’s To The Contrary: All About Women – Women’s History U.S. Category.

PBS laurelsThe film is scheduled to air nationwide between December 30, 2016 and January 6, 2017. Patricia decided to make the documentary with her own funds in order to help spread this story of hope to others.

“My film is an attempt to fill in a small part that is missing from a much larger picture and PBS is a great place to do that, so I feel lucky to have won. The historical story of Clara Brown is one of hope and, as human beings, I think we could all use more hope,” says McInroy.

To see a trailer for the documentary go here: https://vimeo.com/193411212

For PBS airdates near you: http://www.pbs.org/to-the-contrary/airdates


Clara Brown photo credit: Denver Public Library Western History Photographic Collection

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