EL ARENERO HOFFMAN PDF

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Jump to navigation. Courtesy of the artist. Justin Cole, 41st and Central White Panther Party , , Six silver gelatin prints mounted on plywood, 20 x 96 inches total; prints: 20 x 16 inches each. Photo Credit: Robert Wedemeyer. Michael Parker, The Unfinished Standing and Separated 1—12 , , Twelve sequential drawings of the foot-long urban earthwork The Unfinished ; each drawing shown once during the exhibition, Graphite on paper, x in.

The exhibition is accompanied by a publication, designed by Kimberly Varella of Content Object, contextualizing the art of the late 20th and early 21st century in Los Angeles through the lens of the Project Series. All artists will engage with students and elements of the curriculum in a variety of ways during the exhibition.

To celebrate the Project Series and to broaden the curatorial perspective, a committee comprised of Pomona College faculty, students, and Museum staff collectively determined the artists, exhibition strategies and publication content. No other criteria were given, in order to encourage a broad and diverse pool of nominated artists.

Through a combination of research, studio visits and intensive discussion, the committee selected the seven artists. Their work includes drawing, installation, photography, sculpture, social practice art, sound art and video.

Its intent is to bring to the Pomona College campus art that is experimental and that introduces new forms, techniques or concepts. The Project Series has enhanced the Museum's role as a laboratory for exploring innovative, cross-disciplinary collaborations and ideas and as a catalyst for new knowledge.

Los Angeles. My essay frames the exhibition by giving an overview of the vision and history of the Project Series program. The discussions of the seven artists, the unique curatorial process that led to the exhibition, and the history of the Project Series are intertwined and inform each other.

Nikki Pressley b. Her focus on process and materiality is hybridized with her history growing up in a Southern Baptist home and her interests in collective Black history. These multifaceted themes provide a grounding structure in her work, but Pressley is fundamentally concerned with how materials shape meaning and process.

Pressley explores rhizomatic meaning and narrative through drawings, sculptures, found objects, and installations. Emphasizing the liminal qualities of storytelling, she often uses organic materials—such as dirt, dried beans, plants, and moss—combined with painstakingly fabricated drawings and objects that refer to domestic life or the natural landscape.

Most recently, Pressley examines ideas of iteration in a set of handmade cement tiles and a series of graphite landscape drawings. This new work invokes W. After settling into my curatorial position at the Pomona College Museum of Art in , I knew I wanted to focus on contemporary art and use the artist residency as the primary model for a new program.

Among others at Pomona, curators Glicksman and his successor, Helene Winer, established a vision of supporting young artists who were based in the Los Angeles area and doing exploratory, innovative projects. In the late s and early s, they presented ground-breaking conceptual, installation, and performance artworks—intensely creative projects that reflected a confluence at Pomona College of art faculty, curators, visiting artists, and students who would go on to make significant contributions to contemporary art history.

Aspiring to continue and extend this remarkable legacy, I envisaged engaging and collaborating directly with artists who themselves were engaging with the contemporary cultural moment through a rich, boundary-blurring dialogue of art, culture, history, social issues, politics, music, science, and more. Michael Parker b. Parker works in ambitious, large-scale endeavors that usually involve specific communities and many participants.

He is trained formally as a sculptor, but his practice also encompasses performing, facilitating, and engaging. His projects include organizing the hugely popular performance venue Cold Storage in ; joining the Lineman Class at Los Angeles Trade Technical College in ; designing and creating Steam Egg, an herb-infused collective sauna through the present ; planning and overseeing the construction of The Unfinished, a foot-long obelisk along the Los Angeles River in ; and, most recently, creating the fragrant, messy, and beautiful Juicework performance and event Parker has a profoundly diligent, hands-on, and skilled approach to his craft.

While he collaborates with a variety of people throughout the stages of his projects, he ultimately oversees all aspects and completes the majority of the work himself. For this exhibition, Parker presents a rubbing of The Unfinished created by hand, and a unique display of over 1, components from the Juicework project.

Its intent is to bring to the Pomona College campus art that is experimental and that introduces new forms, techniques, or concepts. The Project Series enhances the Museum's role as a laboratory for exploring innovative, cross-disciplinary collaborations and ideas and to serve as a catalyst for new knowledge.

The in-between offers alternatives, different views of how things are and could be. Only a few museum exhibition models regularly supported local Los Angeles artists. Most of these project-style programs sought to bring artists from outside the region to Los Angeles, rather than featuring the work of local artists. I knew that we wanted to show emerging artists, and L. Indeed, the conditions of the s Los Angeles art-world were dynamic, as Los Angeles was evolving into a global art powerhouse.

From to , Art Issues , a bimonthly magazine of contemporary criticism founded by Gary Kornblau, focused on Los Angeles art. They also founded Project X, a series of adventurous artist-organized site-specific exhibitions in small non-profit galleries spaces and community colleges. Few large museums were formally exhibiting emerging and under-represented artists in Los Angeles, and backing that commitment by publishing exhibition catalogs of their work.

Many were encumbered by their collections, long planning cycles, and the dictates of their boards. Commercial galleries often limited their exposure to experimental art. As a small liberal arts college with a history of engaging contemporary art, Pomona was uniquely suited to filling in the gaps left by more established mainstream art institutions and alternative venues.

The college had both the legacy and the potential to establish itself as an ideal venue for experimental and innovative exhibition projects backed by serious intellectual scholarship published in book form. Utilizing documentary, portrait, and street photography, she focuses on intersections between urban structures, familial relationships, and social contexts.

Her images fuse the individual with the historical and, in doing so, consider conventions of portraiture and representation. Using the strategies of photo-narrative and storytelling, Ortiz's documentary and digitally manipulated photographs ponder memory and grief. Like her predecessors, she documents her peers, tracing the arcs of life in a deeply personal way as sorrow and joy unfold. As I considered the development of the Project Series, many questions came to mind.

What could small exhibitions of contemporary artists offer to the Pomona College Museum of Art audience? How could I support the local community of artists? How could we successfully represent the diversity of Los Angeles?

How could the Museum creatively engage artists with its students in deep, meaningful ways? What is the potential of an exhibition? What is a curatorial practice? How can art help to create a more just society? These questions, which I still consider regularly in my curatorial practice, are hardly unique to me. In the past decade, this kind of questioning has accelerated in academia, symposia, conferences, and published essays and interviews with a global range of curators.

I attended the conference, which took place on the University of Pittsburg campus during the Carnegie International Exhibition, and the sessions that focused on critical and political art crystalized my thoughts about working with contemporary artists in the Project Series. In Ten Fundamental Questions of Curating , Elena Filipovic, director and chief curator of Kunsthalle Basel, proposes that an exhibition is not neutral. We must multiply the ways we look at the world, read it, interpret it, write it, and represent it.

Many other curators and scholars are exploring the contemporary art world from a global perspective, and several offer insights into curating in Los Angeles. In our world, nationality, race, and religion overwhelmingly continue to divide rather than unite. Visual art [is] the common lens through which to view the recent past and, hopefully, imagine the possibilities of a better future. The compelling potential for artists to unite, transform, and imagine possibility resonates with the vision of the Project Series.

An academic venue such as Pomona College offers a curator the opportunity to examine the breadth of a historic collection, create thematic shows that bring multiple artists together, and actively collaborate with individual artists.

In all cases, artists and their practices should be the basis for any project or program. Wakana Kimura b. In evocative paintings, works on paper, and minimalistic videos, she explores the elusive terrain of subjectivity and cultural specificity. Her influences include Japanese art history, mythology, and painting, and she combines these in intimate drawings and large paintings.

For her daily practice drawings, Kimura applies delicate washes of subtle pastel hues or vibrant rich tones in abstract swirls and linear patterns. Often, she layers pale marks, usually dots, over the color washes. With the large-scale paintings, Kimura combines delicate intimacy with dynamic calligraphic strokes of black ink that define the space of the work.

Then, with beautifully detailed and lushly colored fields, Kimura exquisitely renders mythological figures, animal forms, and decorative patterns that hover and float through the enigmatic space. For this exhibition, the artist presents One trifle-beset night, t'was the moon, not I, that saw the pond lotus bloom. The repetitive, almost obsessive nature of this task echoes her daily practice drawings in both the use of delicate dot marks and the commitment to a rigorous, ongoing practice.

I envisioned the Project Series supporting the vibrant local Los Angeles artist community, and I have showcased emerging and under-recognized artists in a mini artist-residency style.

The resultant breadth and depth of the Project Series has consistently addressed differing artistic forms, practices, styles, and content. It also reflects the increasing cultural and geographic diversity of the Pomona student body, the Los Angeles region, and indeed, the nation as a whole.

See page for a chronology of Project Series exhibitions. Without discounting the potential for works of art experienced in person to have a deep effect on the viewer, exhibitions are ephemeral; publications provide a lasting legacy. The publications also echo the mandate of the Project Series by supporting local graphic designers and writers, and over the years we have published contributions by a range of curators, critics, poets, scholars, and theorists. Accordingly, all participating Project Series artists work collaboratively with faculty and students in relevant departments, offering workshops, lectures, performances, and other carefully designed and focused programs during their exhibitions.

Most recently, for example, Sam Falls Project Series 49 presented a public lecture at the museum on his exhibition; hosted a tour to one of his studio spaces, located in a nearby parking lot; then concluded the day over an informal pizza dinner with students from three classes, where he generously shared his experiences as an artist and his perspectives on the current art world.

In , Krysten Cunningham Project Series 47 embarked on a complicated series of adventures with college students. The Project Series exhibitions and programming have grown in ambition, scale, and critical recognition. The Pomona College Museum of Art has also made it a priority, within modest budget parameters, to acquire artworks exhibited by Project Series artists for the permanent collection.

From the beginning, it has been imperative to establish a collaborative working process with each artist, from exhibition planning to public programs. In sum, the vision for the Project Series has been to highlight contemporary artists from Southern California by presenting unique, cutting-edge art projects to diverse constituencies through wide-ranging, collaborative, innovative, and provocative concepts and ideas, with a legacy through equally significant publications.

Using his body as a performative tool to create sculptures, videos, and sound works, Naotaka Hiro b. For Hiro, the unknown includes that which is part of us but that we cannot see—the backs of our heads, torsos, buttocks, genitals, and thighs—or do not want to fully comprehend—bodily substances like viscera, excrement, urine, semen.

Influenced both by the groundbreaking experimental art and performative impulses of the Gutai group in Japan in the s and the history of abject body art and performance art in Southern California , Hiro explores the human body and its functions and its refuse. He uses different mediums that purport to reveal truth, such as documentary films and body casting, to reveal imperfections and mistakes through the distortions of his process.

Hiro makes life-casts of his own body, following rules that he determines in advance, such as using only his right hand to cover every inch of his body he can reach, or making a cast of his ass in a limited time frame. The resulting beeswax molds and bronze casts are often activated in his abstract films and serve as instruments for the ambient soundtracks of the films.

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