SoCalMFA 2018

Hosted by Claremont Graduate University
Juried by Howard N. Fox

Opening reception: Sunday, March 25, 2-6 pm
Exhibit on view from March 24 – June 2, 2018

Millard Sheets Art Center (at the Fairplex)
1101 W. McKinley Avenue, Pomona, CA 91768

Gallery Hours: Saturday and Sunday, 10–5pm
By appointment only Monday through Friday.

To make an appointment, contact Thomas Canavan at canavan@fairplex.com
or email the SoCalMFA team at socalmfa@gmail.com

SoCalMFA reflects an increasingly diversified portrait of emerging artists in L.A.

This year’s SoCalMFA organizers, in conjunction with the Millard Sheets Art Center and Claremont Graduate University, are pleased to announce the third and largest annual Southern California MFA exhibition in Millard Sheets’ newly-renovated facility. Juried by Howard N. Fox, the exhibit captures 42 artists representing 17 Southern California MFA programs, using media that includes painting, fabric, sculpture, video, photography, installation, drawing, mixed-media, and more. Taken together, this exhibit is a barometer of the diverse critical and aesthetic concerns that will shape artistic production in Southern California for years to come. The exhibition also reflects Claremont’s Graduate University’s leadership as a center for artistic and cultural production in Southern California at the graduate level.

This year’s SoCal MFA organizing team is made up of former and current Claremont Graduate University students Madeline Arnault, Chelsea Boxwell, and Megan Kinney. The exhibition is the largest MFA exhibition in both number of works exhibited and number of schools represented. The 2018 exhibition includes 17 out of 18 eligible MFA programs in Southern California.

Since 2016, the SoCalMFA exhibit has called upon a guest juror to select works and curate, beginning with Steve Comba (2016) and Amanda Ross-Ho (2017). This year the juror will be Howard N. Fox, an independent curator and former Curator of Contemporary Art at the Los Angeles County Museum of Art (LACMA).

We invite the public to explore this exhibition’s complex perspectives and overlapping themes and invite you to attend the exhibit’s opening reception on Sunday, March 25, from 2-6 p.m.

Accompanying the exhibition will be a public panel led by CGU Professor of Art Theory and History and LA Times art critic David Pagel. The panel will be free and open to the public and will address the culture of the MFA program. Selected artists from the exhibition will join Pagel in this discussion with a Q&A session from the audience. Dates and times will be posted on the Fairplex website and SoCalMFA’s Facebook Page. Please stay tuned for more information.

Participating artists: Madeline Arnault (Claremont Graduate University), Diego Barrientos (Cal Arts), Aurora Berger (Claremont Graduate University), Deitra Charles (Claremont Graduate University), Patricia Chow (Claremont Graduate University), Ji Soo Chung (UCLA), Carey Coleman (UCLA), Remi Dalton (Cal State San Diego), Yubo Dong (UC Irvine), Stevan Dupas (Cal State Long Beach), Jenny Eisenpresser (Art Center College of Design), Samantha Fitzmorris (Claremont Graduate University), Leslie Frank (Claremont Graduate University), Joshua Freeman (Azusa Pacific University), Molly Gabbard (Cal State San Diego), Eleanor Greer (Cal State San Diego), Timothy Haerens (Cal State San Bernardino), Harrison Halaska (Laguna College of Art and Design), Allison Holland (Cal State Fullerton), Lucy Holtsnider (UC Santa Barbara), Anna Laleggio (UC Irvine), Chloe Jeongmyo Kim (Otis College of Art and Design), Aleya Lanteigne (Cal State Sand Diego), Jian Liang (Claremont Graduate University), Jane Margarette (UCLA), Michelle Nunes (Cal State Northridge), Shane McClatchey (Laguna College of Art and Design), Moses Muturi (Cal State San Diego), Aydinaneth Ortiz (Cal Arts), Joshua Rains (Univeristy of Southern California), Rebecca Rich (Claremont Graduate University), Celia Rocha (Otis College of Art and Design), Heather Roessler (Cal State San Bernardino), Cintia Segovia (Cal State Long Beach), Kamaria Shepherd (UCLA), Nicole Waszak (Cal State San Diego), Charisse Weston (UC Irvine), Amy Williams (Cal State Long Beach), Ji Hyun Won (University of California Riverside), Jonathan Yacoub (Claremont Graduate University), Zebulon Zang (UC San Diego), and Benjamin Zhao (Claremont Graduate University).

Instagram
@socalmfa
Hosted by: @cgumfa, @claremontgraduateuniversity
Location: @millardsheetsartcenter #millardsheetsartcenter
Curated by: Madeline Arnault (@madimaud), Chelsea Boxwell (@chelseabox_art), and Megan Kinney (@megzykin)

Facebook
SoCalMFA
CGU Art
Claremont Graduate University
Millard Sheet Arts Center

About Howard N. Fox
From 1985 through 2008, Fox has organized numerous major exhibitions and authored their catalogues. Some of his exhibits include Avant-Garde in the Eighties (1987), A Primal Spirit: Ten Contemporary Japanese Sculptors (1990), Lari Pittman (1996), and Eleanor Antin (1999). Fox recently returned to LACMA as guest curator for the critically acclaimed survey exhibition Playing with Fire: Paintings by Carlos Almaraz.

About David Pagel
In addition to his position at CGU, Pagel is an adjunct curator at the Parrish Art Museum in Water Mill, New York. He also writes regularly for the Los Angeles Times. Since 1988, he has published reviews, features, and essays in Artforum, Art in America, Flash Art, frieze, and Art Issues, where he was reviews editor from 1998 to 2001.

About CGU Art and the School of Arts & Humanities
The School of Arts & Humanities is home to a unique approach to graduate education, offering students the opportunity to study in and across disciplines as they “follow the problem.” Its research and teaching transcend academic boundaries and disregard the artificial divides between theory and application. Intimate seminar-style classes mean students build close working relationships with faculty-mentors, who in turn will help them thrive academically and launch meaningful careers.

About Fairplex and the Millard Sheets Art Center

Through its exhibitions, educational programs, events and workshops, the Millard Sheets Art Center provides the community with meaningful experiences within the world of visual arts. As part of The Learning Centers at Fairplex, the center engages the community at multiple levels of education and its exhibitions promote the rich and diverse cultures that lie within Los Angeles County and Southern California. Fairplex is an educational and entertainment complex that is home to the L.A. County Fair and 500 year-round events.

Allison Holland, CSUF

 

Rebecca Rich, CGU

 

Diego Barrientos, Calarts

Diane Williams | INcongruence
A solo show exhibition at Gallery 825

825 North La Cienega Blvd. Los Angeles, CA 90069

March 17 – April 20, 2018

Opening reception: March 17, 6pm-9pm

Gallery 825 in Los Angeles, California is pleased to present INcongruence, a solo show exhibition by Diane Williams.

Diane Williams is a Los Angeles based artist whose work includes several disciplines to approach the subject of xenophobia and gender bias. In her work, Williams seeks to find a common ground between the art she makes and the community at large. The project aims to reflect the immigrant communities as well as the whole nation, illustrating the idea of an extended community while challenging assumptions and norms.

INcongruence involves a participatory art piece and an installation that will confront viewers, turning them into active participants. The installation consists of 8 large modules made out of wire, recycled and manipulated fiber such as: yarn, thread, fabric, and shredded paintings, interwoven together and creating an immersive structure that fills Gallery 825’s largest front space. These materials have personal history, discarded or purchased from the artist’s neighborhood Thrift Shop in Glassell Park and the Fabric District in Downtown Los Angeles called Santee Alley, frequented by many lower and middle income immigrant families. Williams intertwined these elements into modular weavings, reminiscent of protest signs and roadside memorials that will operate as obstructions, confinement and disruptions. The polychromatic modules are an amalgamation of diverse textures and components. A reminder that America is clearly divided as a nation but we have more in common than we are often led to believe. Diversity is what makes this country great.

About Diane Williams
Diane Williams is a multidisciplinary artist living and working in Los Angeles, CA. She earned her BFA degree from California State University, Long Beach in 2013. Her work has been featured in select publications and exhibited in solo shows including Beautiful Creatures at Cerritos College Gallery (2018) and several group exhibitions: With Liberty and Justice for Some at Walter Maciel, Culver City, Personal Narrative at the Annenberg Beach House Gallery, Santa Monica (2017), WE: Visual Reflections of the American Experiment, Azusa Pacific University, Azusa. Williams has works in both private and public collections: National Immigration Law Center, Los Angeles and Washington DC headquarters (2016) and Azusa Pacific University (2017). She’s currently working on a solo show in March of 2018 at Gallery 825 in Los Angeles and a residency at Museum of Art and History – MOAH, Lancaster, CA scheduled for late 2019.
http://www.dianewilliamsartist.com

About Gallery 825
Gallery 825 is the exhibition arm of the Los Angeles Art Association. Purchased in 1958, the gallery, which is located in the heart of Los Angeles at 825 North La Cienega Boulevard, provides LAAA artists with a professional venue in which to show their work.

Gallery Hours: Tuesday-Saturday 10-5pm

 

Randi Matushevitz

Conundrum Solo Exhibit

March 17th-April 20th, 2018 Opening reception: Saturday, March 17th, 6-9 p.m.

LAAA | Gallery 825 825 N. La Cienaga Blvd., CA 90069 Ph. 310.652.8272

Randi Matushevitz’s unmasked expressionism

(Los Angeles, California) – Gallery 825 is pleased to present a solo exhibit with L.A.-based artist Randi Matushevitz whose works on canvas deliver an unmasked view of humanity within our current socio-political climate. Matushevitz’s themes of social inequities seen from the point of view of the homeless and technologically-mobile paint a stark portrait of humanity.

Matushevitz further draws upon contrasts materially, through dense networks of markmaking, stenciling, spray-painting, and traditional painting in oil and acrylic. The works’ charged positive and negative spaces illuminate her subjects conflating tender vulnerability with violence and dislocation.

Matushevitz draws upon and resonates with the aesthetics of German Expressionism whose adopters reacted to the rise of academic art, nationalism, and militarism leading up to, and during World War I. Expressionism’s narratives advanced humanistic ideas of social displacement, alienation, urbanization and eschewed formal conventions of Impressionism and academic art. In her 2017 essay Expressive Intensity, writer Betty Ann Brown articulated in Matushevitz’s art, an essential expression of the “…the human condition, our quest for connectivity, and the pain we all suffer in this earthly existence.”

The public is invited to attend Matushevitz’s opening reception on Sunday, March 17th, 6-9 p.m. where the artist will be on hand to discuss her techniques and questions.

Misty Cabbage by Karen Hochman Brown
Misty Cabbage by Karen Hochman Brown

Karen Hochman Brown: Fine Art Photographs Driven by Math and Technology

Let us introduce you to Karen Hochman Brown. Karen creates digital images inspired by her childhood affinity for kaleidoscopes and her passion for math and technology. Karen will be opening her solo show at Crain Art Gallery in the San Marino Library on February 24, through to April 6. Then, in May and June this year, Karen’s work will be part of the Through the Eyes of Artists posters on LA METRO System.

Artist Statement
I’m a child in my mother’s garden. Flashes of color and light dance as I hold my first kaleidoscope up to one eye, close the other, find a source of light, and the rest of the world disappears while I endlessly turn, turn, turn.

The light transforms broken bits of colored glass into perfect rays of symmetry. Identical triangles recede into the mirrors, creating vibrant patterns, effortlessly changing as I spin the tube while my heart beats in wild delight at the endless play of animations.

I slow the spin, watch for an exceptional shape and stop. The momentary pattern is fragile, can collapse in an instant, so I hold very, very still. Even then, precision is required. Who would imagine that I was igniting a life-long passion for the swirling patterns of light and color born on a summer’s day so long ago?

Today my kaleidoscope is more complex. Computer software and hardware replace the simple tube of cardboard, glass, and mirror. I sit with a stylus and keyboard, watching the show unfold as I turn, layer, and spin the reflection from one of my photographs, brightly illuminated in my monitor.

No longer restricted to a three-way reflection or a flat mirror, I romp through polar space, fiddle with fractals, and play in the realm of infinite images.

From one of my photographs, I pull out the metaphorical “broken bits of glass” and turn these into my own kaleidoscopic imagery — spinning, nudging, and shifting these flecks of light until, like that child on the lawn, my heart beats wildly and I become lost in the endless dance of color, light and shape.

Nano Bug City by Karen Hochman Brown
Nano Bug City by Karen Hochman Brown
Erythrina on Fire by Karen Hochman Brown
Erythrina on Fire by Karen Hochman Brown

JJ LHeureux
Nude Male Maids
Venice, California

Feminism Now

Visual Art Exhibition by the Feminist Image Group, Shoebox Projects and Krogen Amerika

Shoebox Projects, Los Angeles
1660 South Avenue 21 #3
Los Angeles, California, CA 90031
http://www.shoeboxprojects.com
https://www.facebook.com/shoeboxprojects/

 

The exhibition will run Feb 24 – March 11, 2018
Opening Reception: opening Sunday Feb 25, 3-6pm
Gallery hours by appointment
All events free and open to the public.

http://fig-art.blogspot.com/

Members of the San Diego Feminist Image Group, Shoebox Projects and the Swedish Group Krogen Amerika present artworks that explore multiple visions of what feminism is today, in the context of Southern California and Northern Europe. Artists address the complexity of gender equality through themes such as sexism, body image, class, race, politics, spirituality, domesticity, biology, and history.

This exhibition will travel to Stockholm, Sweden in May 2018.

The public is invited to attend the opening reception on Sunday, February 25, from 3-6pm at Shoebox Projects in the Brewery Arts Complex, Los Angeles. Artists will be present to engage the public.

The Feminist Image Group was formed in 2009. FIG is a coalition of San Diego visual artists who meet to discuss art, see exhibitions, and support one another in our careers. We work across many media, including drawing, painting, photography, sculpture, installation, digital media and performance. The group has had exhibitions at San Diego Mesa College, Art Produce Gallery, Hyde Gallery at Grossmont College, Art San Diego Artfair, and has an upcoming exhibition at the Women’s Museum of California.
“Krogen Amerika” is the name of a Swedish printmaking group in the region of Östergötland in Sweden. The group works out of a a red wooden house from 1704 in the very center of the Swedish city of Linköping. During the years, it has functioned as a private home, a local pub, and a meeting place for emigrants to America (hence the name of the house, “Krogen Amerika”). Now it is a fully functional printmaking studio and art gallery. This artist-run gallery and studio space is partly funded by the city of Linköping. About 20 artists work here, and also together manage the space, with the support from the local community. The gallery exhibits artists from all over Sweden. Krogen America has exhibited as a group at Norrköpings Museum, Östergötlands Museum, Grafiska Sällskapet, the Palo Alto City Hall, Odense Konsthall Danmark, Berlin Kunstfactor.

Participating Artists:

Agneta Östlund, Amy Paul, Ann Olsen, Anna Stump, Anna Zappoli, Anne De Geer, Åsa Kvissberg, Berit Hammarbäck, Bhavna Mehta, Bibi Davidson, Caroline Färnström, Catherine Ruane, Cathy Immordino, Cecilia Uhlin, Chenhung Chen, Christina Ruthger,, Cindy Zimmerman, Dani Dodge, Daphne Hill, Diane Williams, Dwora Fried, Emily Blythe Jones, Emily Wiseman, Erika Lizée, Ginger Rosser, Grace Gray-Adams, Hannah Johansen, Hasti Radpoor, Helen Redman, Irene Abraham, Isabelle Nilsson, Jane Szabo, Janice Grinsell, Jeanne Dunn, Jennifer Bennett, Jenny Treece Jorup, JJ L’Heureux, Judy Christensen, Kathi McCord, Kathleen Mitchell, Kathy Miller, Kathy Nida, Kim Niehans, Kit Aaboe, Kristine Schomaker, Lauren Carrera, Lena Möller, Lena Wiklund, Linda Litteral, Linda Rae Coughlin, Lisa Hutton, Marina Holmberg, Moya Devine, Nilly Gill, Nurit Avesar, Petrina Cooper, Pia Göransson-Lie, Prudence Horne, Randi Leirnes, Randi Matushevitz, Samantha Fields, Samuelle Richardson, Sheli Silverio, Stacie Birky-Greene, Stephanie Bedwell, Susan Amorde, Susan Osborn, Susan T. Kurland, Terri Hughes-Oelrich, Terrilynn Quick, Yasmine Diaz

 

 

Cynthia Minet
Migrations

International Museum of Art and Science (IMAS)
1900 W Nolana Ave McAllen, Texas 78504
http://theimasonline.org
http://cynthiaminet.com/

April 14th to September 2nd, 2018
Public reception April 14th 3-5pm

Open Studio at the Brewery
660 South Avenue 21 #10 LA Ca 90031
Sunday March 4th 2-5pm

Facebook event

 

(McAllen, Texas) – Los Angeles artist Cynthia Minet is pleased to present Migrations, a one-person exhibition at The International Museum of Art and Science (IMAS) in McAllen, Texas, from April 14th to September 2nd, 2018.

Migrations takes borderland regions of the Rio Grande Valley as its point of departure and specifically uses the Roseate Spoonbill, a large bird native to the Southeast coastal region as an artistic surrogate for human experiences. Minet is well known for the creation of large-scale sculptures of animals constructed from repurposed plastics—detergent bottles, water containers, found toys, etc. that are then illuminated from within by glowing LED lights. She creates magnificent aesthetic objects that metaphorically call attention to our dependency on electricity and petrochemicals. Her conceptually and politically astute artworks draw the audience in, and then prompt them to thoughtfully consider and question contemporary society and lifestyle.

In Migrations, Minet will exhibit five suspended sculptures and one floor piece in addition to select wall-mounted drawings. Like most of her installations, this work is site-responsive, and uses recycled plastic debris from Los Angeles in addition to found materials gathered from the borderlands region of the Rio Grande Valley. The center piece of the installation is a graceful representation of the Roseate Spoonbill in various stages of flight. These sculptural birds are accompanied by light sequencing and motion activated sound that consists of wing beats, running water, bird calls and footsteps through grass that create a sense of mystery and movement in the darkened space. In addition, embedded into these sculptures are artifacts dropped by migrants who have crossed the border fence or the Rio Grande River into Texas. Minet’s visually accessible, meaningful and richly layered works call attention to the fact that plastic will erode but never disappear, that habitats and species will be lost to climate change and pollution and never return, and that people will risk everything to escape intolerable situations only to be denied entry into a new land.

Cynthia Minet’s artworks have been exhibited both in the USA and internationally. Her recent solo exhibitions include: Avian, Vita Art Center at the Bell Arts Factory, Ventura (2016); Beast of Burden, USC Fisher Museum of Art, University of Southern California (2015); Packing Caravan, the Los Angeles International Airport, (2013), Unsustainable Creatures, UC Riverside’s Culver Center for the Arts (2012), as well as installations at the Anchorage Museum, AK (2014), the Huntington Beach Art Center, the Los Angeles Museum of Natural History, and at GATE Projects, Glendale. International group exhibitions include museum and gallery shows since 2000. Minet is professor of studio art at Moorpark College, Moorpark, CA.

Pam Douglas, Which Future Do You See?
Pam Douglas, Which Future Do You See?

Pam Douglas: Between Seen and Unseen

Meet Pam Douglas who uses paint and found objects in a meditation on the human condition. Pam is currently showing in “Bunk” at LAAA/Gallery 825 and in “Back to the Ebell” with Women Painters West at The Ebell of Los Angeles until Feb 5. She has been recently written up in Art and Cake and Huffington Post.

Pam Douglas, Eye of the Storm
Pam Douglas, Eye of the Storm

Artist Statement
Each of my series risks an experimental approach to painting. I explore both the substrate: rice paper, silk, canvas, wood, plastics, mirrors — and the tools: inks, stains, paint, charcoal, wire, string, and even machine parts. Ranging from abstract to figurative, and from painting to assemblage, the works all play with the veil between seen and unseen, questioning what is real while commenting on our current time.

My 2017 series “Sight” interprets human vision using layers of transparencies to create surfaces that reflect viewers back upon themselves in a way that can be challenging. These new works hint at illusions while engaging the inescapable realities of our time.

In 2016, I did a series titled “Rhythms” that intertwines newspaper headlines with EKG rhythms of heartbeats. I asked, “What’s happening in the world that makes the heart clench?” I thought about the fear and hostility in our current political and social landscapes, as well as what makes the heart release. This series extends beyond heartbeats to waves of sound that make similar rhythms, as do phases of nature. From heartbeats to sound waves, our lives are measured in pulses of energy. We sense universal tempos in the timing of our days.

My 2014 series, “The Long Thread,” contrasts silk with the rougher textures of string, twine and rope. Life and death emerged as themes as those pieces evolved beyond paintings into large textile wall hangings.

Other series offer insights into images of women and a spiritual dimension to place and time. Overall I intend my work to move beyond external reference and materials to a philosophical sense that suggests transcendence.