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PICKED RAW PEELED 2010 We encourage writers to develop their voice while writing about visual arts events in the San Diego County. We intend to avoid art speak so the average reader can understand the text without a masters degree in art history. Louisa Garcia, Sheena Ghanbari , and Katherine Sweetman are reporting on the Picked RAW events. Our thanks to Ann White for her brilliant proofing and to Karla Duarte, Ana Laura Zúñiga and Felipe Zúñiga for occasional translations... See Picked RAW picks Read other art reviews at: Art As Authority on SDVAN , Sezio,and if you hear of other sites, let us know! Interested in wrting yourself? We would love to hear from you. NEW Sheena Ghanbari: In Conversation: Kim MacConnel and Robin Stark Collection Applied Design: A Kim MacConnel Retrospective until Jan 23 at the Museum of Contemporary Art San Diego Louisa Garcia : Eat, Paint and Love - an Eat Your Art Out Fundraiser for SDVAN at L Street Fine Art Michele Guieu at Project X and Judy Chicago at SDMA by Patricia Frischer Michele Guieu: Defragmentation comes back early to SD from SF to paint the walls at Project X: Art (320 So. Cedros Avenue, Suite 500, Solana Beach, 92075) for her opening reception: Dec 11, 6-10 PM and show until Jan 14. More info: Chris Martino 858.792.9685 Michele Guieu is now living near San Jose but has returned to Solana Beach for this exhibition. We have watched Ms. Guieu go from strength to strength and this latest show is the best ever and not to be missed. She has managed to balance her strong graphic design skills with the slightly abstracted selection of her intimate memories. Three walls of the gallery have been enhanced directly with her painting and a multitude of rectangular paintings are laid over this mural work. The fourth wall is a more balanced but no less interesting collection of similar works. The color palate is limited adding clarity to this vision. Various video frames have morphing colored images giving added information but still allowing us to make our own interpretation of the work. Or better, yet, just let the imagery wash over us. The large scale of this installation encourages this and I was happy to float in Michele Guieu’s world. Judy Chicago lecture on Frida Kahlo on Wed. Dec 8, 7 pm at the San Diego Museum of Art (1450 El Prado, Balboa Park, SD 82101) More info: programs@sdmart.org 619.232.7931 The world of Frida Kahlo according to Judy Chicago is, of course, a study in feminism. Judy always delivers an education and what was wonderful to me was the audience for this lecture at the SDMA was way ahead of that game. In fact, the questions from the audience were stimulating and impressive and even Ms.Chicago commented on their quality. They were probing and brought a balance to the evening. We heard how history had viewed Kahlo through the eyes of her famous husband Diego Rivera until recently. Of course, San Diego’s cognoscenti has long been aware of the value of Kahlo’s art even it if it took the rest of the world time to catch up. There was lots of comparisons between Chicago’s own work and Kahlo as one would expect. But the interesting idea of how this in-depth study of Kahlo has influenced Chicago’s work is still unclear. Patricia Frischer, author of "The Artist and the Art of Marketing," has lectured extensively on marketing for artists. She is a trainer of artists’ agents, art dealers, consultants and collectors. Frischer has taken on the roles of gallerist, curator, writer, teacher, website coordinator and artist. She is a founding member and coordinator of the San Diego Visual Arts Network, ( www.SDVAN.net ) which funds the SD Art Prize, directory and events calendar and SmART Collector features. Her own artwork ( www.DrawsCrowd.com ) has been shown internationally. In Conversation: Kim MacConnel and Robin Stark by Sheena Ghanbari Collection Applied Design: A Kim MacConnel Retrospective until Jan 23 at the Museum of Contemporary Art San Diego ( 700 Prospect Street , La Jolla, 92037. More info: Claire Caraska 858.454.3541 x119. Kim MacConnel’s presence in the San Diego art scene has never been stronger; The UCSD Professor Emeritus has a retrospective exhibit at the Museum of Contemporary Art, San Diego, an exhibit at the Quint Gallery and a new mural in downtown La Jolla. In Conversation: Kim MacConnel and Robin Stark was a candid discussion with the artist and curator behind the vibrant exhibit at MCASD. One of the first images presented in the talk was a striking photograph of MacConnel’s studio in Encinitas, with floor to ceiling glass and a greenhouse-like structure; I could imagine how this would be a fitting and inspiring space in which to create. MacConnel is known for his vivacious colors and decorative style, but after the talk I had a much better view of his range and progression as an artist. Robin Clark clicked through hand selected slides and Kim MacConnel would unveil the layers of thought behind each piece. I was surprised to see a series of pieces that looked like comic inspired characters. He purchased an old Chinese flip-art book titled Collection Applied Design and this became the unlikely inspiration for the title of his retrospective exhibit at MCASD. MacConnel has a knack for renewing old objects and giving them new life and that was just what he did with the flip art book, creating his own series of symbols “that functioned like a Chinese ideogram.” He wanted images to serve as “codes through a decorative design.” In a more recent series of works, MacConnel reengages the viewer with Picasso’s Girl Before a Mirror. His series Woman with Mirror is a modern take on the original that recreates the dialogue around a piece of art that was no longer as relevant in contemporary art. MacConnel’s ability to give new life to used or unwanted items is a trademark talent that was highlighted in Conversation: Kim MacConnel and Robin Stark . Robin Clark guided the audience on a journey that explored the artist’s inspiration and methods, giving us a better understanding of the context and meanings associated with the artwork. Sheena Ghanbari is currently the Program Promotion Manager of UCSD’s Visual Arts Department. She has a Masters in Arts Management from the Heinz College of Public Policy at Carnegie Mellon University and has completed her undergraduate studies in visual arts and communications at UCSD. In her spare time she enjoys writing, swimming, and painting. back to topEat, Paint and Love? by Louisa Garcia Eat Paint Love is an Eat Your Art Out Fundraiser for SDVAN on Sat. Nov.13 with a reception and auction of student works form 4 to 6 pm. This is part of the Healing Arts project produced by Gerrit Greve who works with intern teachers, whose works will also be on display, to help students to learn that helping someone else they are empowered to help themselves. L Street Fine Art (628 L Street, San Diego 92101 Show until Dec 31. More Info: Kay Colvin 760-492-2876 I met Gerrit Greve a few months ago at a San Diego Visual Arts Meeting. At first glance I thought Donald Sutherland had walked into the room and for the first half of the meeting I felt slightly intimidated by him. This was, of course, completely unnecessary; Greve is a charming man who, within minutes of talking with him, had me admiring his creativity and most importantly his work with the Arts for Healing program, a project that began in 1993 at Scripps Memorial Hospital and has expanded into the community. It was for this reason that I jumped at the chance to see his latest Arts for Healing project, ”Eat, Paint, Love” at the L Street Fine Art Gallery. Inspired by the widely popular book Eat, Pray, Love by Elizabeth Gilbert , From the press release for the show, “T he works featured in this exhibition explore and illustrate the personal journey of the artist that takes us to unusual places in a creative quest to explore the artist’s own nature and to learn the art of spiritual balance.” Sadly, I missed opening night where paintings created by participating local students were auctioned off partly to benefit the San Diego Visual Arts Network. Perhaps, had I been there, I would have appreciated the exhibition more. Except for one other artist, Tamara McDonald, the only artist on display for the entire show at the L Street Fine Art Gallery was Gerrit Greve. After reading about each piece I was able to see the connection Greve was making with the Eat, Paint, Love concept but the exhibition did not speak to me personally. The only piece that made me stop and think was the Silence of History a powerful piece with deep Fall golds and a large stitch down the middle that seemed to expose a flash of pale blue light, of hope. I wanted to see more work by the students, I wanted to see how they interpreted the title, “Eat, Paint, Love.” I did find out that there is a book* that accompanies the exhibit and would be interested in checking it out. I saw the Eat and the Paint but the exhibit was lacking the Love for which I was looking. Editor's note: We are grateful to Gerrit Greve and Family Health Centers of San Diego for their generous donation to the Eat Your Art fundraiser for San Diego Visual Arts Network.. Louisa Garcia is a Rehabilitation Specialist by day, Writer by night who lives in Carlsbad, CA with her loving husband David. In her spare time, she loves to read, do Bikram Yoga, hang out with her fabulous friends and relax on the beach with her new husband. Tagged, You’re it by Patricia Frischer Tagged is an Art Meets Fashion: The Fringe Event on Saturday November 13, 7 to 10 pm , in aid of Jeans4Justice and SDVAN at the Mosaic Gallery ( 3422 30th Avenue, Northpark SD, 92104). Order a pair of tagged jeans by one of San Diego’s finest artists or bring a pair and have them tagged on the night. Other denim is available as well. The artists include Tania Alcala , Shay Davis , Jason Feather, Mark Jesinoski , Monty Montgomery, Greta Proctor, Ansley Pye, John Thomas, Juli Vee, Ronald Wickersham, Eric Wixon , and Fei Zhou. The show is also up on Sunday November 14. More info: Mark Jesinoski 619.906.4747 SD Visual Arts Network started with an idea to make collaborations with artists and fashion designers and were willing to cross promote any event on this theme. SDVAN tagged Tania Alcala with this idea and she tagged Mark Jesinoski at Mosaic Gallery to host the night’s jazzy opening and exhibition. Together they tagged Jessica Johnson who brought the Jean4Justice charity to the table. Jess has put on a number of events with painted denim. As a group they tagged a group of artists who loved the idea of displaying their art and giving the commission on sales of their painting on jeans to J4J. Tagged is a term for street art when words are used and some of these jeans did have words, but basically the style on most of the jeans was graffiti-like. A smaller percentage of the sales price of the actual painting on the walls goes to SDVAN to aid them in future programming and to finance art lesson plans for teens at risk. Jaye Brown from the Art Institute of California-San Diego was then tagged to bring a group of merchandising students to set up sales booths on the night. A DJ, the cool vibes of the Mosaic Wine Bar, lovely models and a hip and happy crowd made this the place to be. Now, tagged, you’re it. Go out and buy some art or put on your own AMF Fringe event.Patricia Frischer, author of "The Artist and the Art of Marketing," has lectured extensively on marketing for artists. She is a trainer of artists’ agents, art dealers, consultants and collectors. Frischer has taken on the roles of gallerist, curator, writer, teacher, website coordinator and artist. She is a founding member and coordinator of the San Diego Visual Arts Network, ( www.SDVAN.net ) which funds the SD Art Prize, directory and events calendar and SmART Collector features. Her own artwork ( www.DrawsCrowd.com ) has been shown internationally. Kim MacConnel: Soft to Hard - Gail Roberts, Sondra Sherman, Pawnee Barton: Hard to Soft by Patricia Frischer Collection Applied Design: A Kim MacConnel Retrospective until Jan 23 at the Museum of Contemporary Art San Diego ( 700 Prospect Street , La Jolla, 92037. More info: Claire Caraska 858.454.3541 x119. Gail Roberts and Sondra Sherman:Appellations and Pawnee Barton: Occupation: Housewife until Nov 5 at the Athenaeum Music & Arts Library ( 1008 Wall St. , La Jolla, 92037) More info: athpr@pacbell.net 858.454.5872 I have been following Kim MacConnel’s work for over 30 years so I was particularly excited to see this retrospective exhibition. I should disclose that I own a small MacConnel low relief that I purchased in 1980 from the Holly Solomon Gallery in New York City and MacConnel is also a 2009 SD Art Prize recipient. But this show has re-confirmed my opinion that Kim is worthy of being one of our most valuable regional artists. I fell in love with the pattern filled banner painting of 1980, but I discovered in this exhibition, work inspired by a place that only a few of us have visited, Sana in Yemen. Watching the video by Pier Pado Pasolini from 1970 took me right back to my enchantment with the architecture of the city with their ancient patterns decorations rising above the primitive topography like clouds trying to define the sky. This is a show that lets you see how the artists has developed over the years, from the exuberant outpouring of complimentary pairs, to the traveler/observer adding photographer to his vision, to the honed precision of color contained. There are stops along the way with cut outs looking like really hip lace, beach trash in clown figures or fabulous piles, and painted furniture. I love the idea that genX will now get the opportunity to discover Kim MacConnel and his amazing art. Another SD Art Prize recipient is shown at the Athenaeum. Gail Roberts book paintings are a wonderful compliment to Sondra Sherman’s book with jewelry hidden in hollows of the related text. Showing at the same time is Shawnee Barton and I was won over by her hand embroidered Losing Lotto ticket AKA My Weekly Retirement Contribution. You have to love the fortune cookie which says, “Life won’t always suck.” Both Sherman and Barton give us a temptation of textures to go with Roberts visuals. Patricia Frischer author of "The Artist and the Art of Marketing" has lectured extensively on marketing for artists. She is a trainer of artists’ agents, art dealers, consultant and collectors. Frischer has taken on the roles of gallerist, curator, writer, teacher, website coordinator and artist. She is a founding member and coordinator of the San Diego Visual Arts Network, (www.SDVAN.net ) which funds the SD Art Prize, directory and events calendar and SmART Collector features. Her own artwork (www.DrawsCrowd.com ) has been shown internationally. Sunday in Wonderland by Louisa Garcia
Zandra Rhodes a Lifelong Love Affair with Textiles at the Mingei International Museum in Balboa Park on Oct 3, 2010 to April 3, 2011. For more info: Martha Ehringer 619.239.0003 Sunday’s in my house are usually spent watching 300 lb men wearing tights beat the crap out of one another, so a mid-day trip to the Mingei to check out the Zandra Rhodes exhibit – A Lifelong Love Affair with Textiles was like a trip down the rabbit hole. Rhodes has been creating colorful fabrics and garments since the 1960’s. Nicknamed the Princess of Punk, Rhodes herself looks like a colorful rainbow with cotton candy pink hair. The walls of the Mingei mimicked Rhodes colorful coif, a compliment to the Wonderland colors of her unique fashions and textiles. The collection covers Rhodes work from the 1960’s through the 1980’s. Rhodes work knows no boundaries. From her Punk Wedding Dress, complete with holes and beaded safety pins to her Dinosaur Coat made of natural colored wool felt and button flowers printed on satin, Rhodes work is walking poetry, like a page peppered with adjectives. My favorite dress was in her signature “73/44” style that became famous in 1973. It had a plunging neckline and a yellow chiffon bodice. It was printed in reverse lily with emerald green silk chiffon. It was like looking at a dream. I imagined myself strolling down the red carpet, the flash of the paparazzi illuminating the evening sky. They would ask, “Who are you wearing?” and I would smile and answer, “Why, Zandra Rhodes… of course.” Louisa Garcia is a Rehabilitation Specialist by day, Writer by night who lives in Carlsbad, CA with her loving husband David. In her spare time, she loves to read, do Bikram Yoga, hang out with her fabulous friends and relax on the beach with her new husband. When Inspiration Strikes by Louisa Garcia The Timken Museum of Art and Fashion Careers College (FCC) Art of Fashion Special Post Event Exhibition Sept 7 - Oct 3 with five spectacular designs created by Fashion Careers College students and graduates. Admission is free and hours are Tuesday - Saturday 10 a.m. to 4:30 p.m. Sunday 1:30 p.m. to 4:30 p.m. I’ve been to the Timken Museum at least a half a dozen times and each time, I have to admit, I was a little bored. Giant paintings of stiff shirted, pink faced men and women and religious art isn’t really my cup of tea – but their latest installation, the Third Annual Art of Fashion was like a breath of not too stiff fresh air. Several students and graduates from the Fashion Careers College (FCC) designed clothing interpretations inspired by masterpieces from the museum’s permanent collection. My favorite, designed by Heather Panetti, was an interpretation of the painting Portrait of Cooper Penrose by Jacque-Louis David – one of those pinched portraits I spoke of earlier. Her mannequin sported studded hot-pants and a military jacket that I secretly coveted – okay, maybe not the hot-pants, but a girl can dream. Designer Jesus Estrada had the most dramatic of all the designs. His emerald ball gown filled the room with over 20 yards of fabric. It reminded me of Scarlett O’Hara in Gone With the Wind and mimicked the painting that inspired it, Bartolomeo Veneto’s Portrait of a Lady in a Green Dress. I wasn’t there on opening night but I bet seeing a real model floating through the museum – a sea of green – was quite a sight. The designers of the Art of Fashion were inspired by classic works of Art, our AMF teams are inspired by a variety of subjects,, What I want to know is, if you are a budding artists or fashion designer, who inspires you? Louisa Garcia is a Rehabilitation Specialist by day, Writer by night who lives in Carlsbad, CA with her loving husband David. In her spare time, she loves to read, do Bikram Yoga, hang out with her fabulous friends and relax on the beach with her new husband. Flesh and Pizza by Louisa Garcia Feeling feisty, in the mood for a little flesh? Avoid the summer melt down and have a frosty beverage at theFlesh and Fetish art show at Bar Basic. Sponsored by The Thumbprint Gallery. Exhibition Aug 17. 7pm-12am. For more info contact The Thumbprint Gallery 619.203.6030 Dear Daniel, I wish you could have been here last night to help me celebrate my 21 st birthday. I received your card in the mail instructing me to stop by Bar Basic downtown for their Tuesday night art show produced by the Thumbprint Gallery in North Park. I have to say I wasn’t sure what to expect but in the end it was quite an evening. My friend Carilyn went with me; we put on our birthday best (not our birthday suits – although they might have been fitting seeing as the night of art was aptly titled “Flesh and Fetish”) and headed out for some Pizza and Flesh. After a few birthday drinks we devoured a large and deliciously delectable pizza and an equally enticing salad with candied walnuts so large I think I chipped a tooth. While the food and drinks were a yummy start to the evening the real birthday fun began as we sauntered over to the bar side of Basic. The first thing that caught my attention was a portrait artist working for tips. We watched him as he painted a couple of girls, martinis in hand. His name was True Delorenzo and we found that all along the north wall of the bar his art oozed. As we moved past True we found ourselves in a group of voyeurs. The object in our sights was a couple of girls, one of them seasonally dressed in a pink bikini and heels (not sure I understand that part but she was working the look) and the other more appropriately dressed in jeans and a white button up blouse. They weren’t dancing or singing or any of the other stage accepted forms of entertainment; nope, these girls were canvases. Works of art were being painted on their flesh, a white stem zig zagged up the waist of the girl in the pink bikini, the beginnings of something blue and flower-like appeared on the arm of the girl in the jeans. Leaving the canvases to mingle we made our way to the art gallery. Yes, an art gallery in a bar and not just any art gallery, but one filled with images of women in a variety of sexually enticing and expressive situations. My favorite, an untitled piece by an untitled artist, was a tryptich that began with an eyeball, moved on to a heart and finished with a vagina. It wasn’t until later that I made the connection: I heart vagina. I guess it was fitting for the evening and for the theme. I have to say it wasn’t the 21 st birthday evening I expected but as my friend Carilyn said, “Who doesn’t need a little Flesh and Pizza every once in a while.” Love you and remember – I heart you! Rebecca Louisa Garcia is a Rehabilitation Specialist by day, Writer by night who lives in Carlsbad, CA with her loving husband David. In her spare time, she loves to read, do Bikram Yoga, hang out with her fabulous friends and relax on the beach with her new husband. Here Not There: SD Artist Now exhibition from June 6 – Sept 19 show at The Museum of Contemporary Art San Diego in La Jolla. It may just be coincidence that the opening of “Here Not There: San Diego Art Now” marked the end of my first year in San Diego. It is as if the show is meant to be a quiz on how much I know about the local art scene. Luckily, my affiliation to the department of visual arts at UCSD gives me prior knowledge on some of the artists associated with the school. But I was not familiar with the many other talents selected for this show. The exhibition at the La Jolla site of the Museum of Contemporary Art serves as a reminder to keep my eyes open outside of my campus to the wider pool of creativity in America’s Finest City. The exhibition takes over all the exhibition spaces inside the museum and also includes several auxiliary performance events. The show includes a good mix of artistic practices, from straightforward painters and sculptors to conceptual and research-based new media artists. Lev Manovich and William Huber’s wall mural, which consists of reproduction of the covers of American science journals, is a perfect example of the type of work incubated in an academic setting, where top-notch digital technology becomes a chronicling device of knowledge and art. Kelly Eginton’s drawings look like blue prints or landscapes of an abstract structure; while subtle and pensive, they also trigger curiosity about the symbolism of each ruler-groomed mark. Jessica McCambly’s sculpture made of salt crystals aptly utilizes the quintessential material of the coast, but the marvel that the accumulated material itself creates is much more intense than the impact of the work’s overall visual composition. The tchotchke-filled installation (or sanctuary?) that Wendell Kling constructed reminds me of an alternative setting for Alice in Wonderland, completed by the artist’s instructions for operating the light and sound switches. The whimsical music that the dolls and percussion instruments generate percolates through the space, making the nearby sculptures and paintings animated. The show is not thesis-driven, or as curator Lucia Sanrom à n states in the curatorial opener, it celebrates “multiplicity and diversity.” What was surprising was that the majority of the work in the show does not have much political reference or social agenda (except for works by The Border Corp, Ricardo Dominguez and a few others). Considering San Diego is a hot bed for debates on multiculturalism, immigration, border, and military presence, to name a few, I expected to see more work engaging in the subjects surrounding the above tensional zones. Rather, it seems to me that the show concentrates on each artist’s (solitary) pursuit, having less to do with a general climate of art, society, and even the specificity of the place these artists call home. Does this indicate that this round of San Diego artists live in a secluded paradise – as the rest of the world categorizes San Diego – where no other problem is present? How would the viewer make the link between the exhibited works and the contemporary art world today? Perhaps my main critique of the show is that everything appears too clean and safe, accentuated by the museum’s location in pristine La Jolla. I am curious about which artists out there did not make the cut. That would be my assignment for the upcoming year… Lesley Ma is currently pursuing her Ph. D. in Art History, Theory, and Criticism at the University of California, San Diego. She graduated from Harvard College and received her M. A. in Museum Studies from New York University. She is an editor of Lovely Daze, an artist publication out of Paris. Street Art Meets White Walls by Sheena Ghanbari Visit Viva la Revolución at the Downtown location of the Museum of Contemporary Art San Diego. The exhibit features works from a diverse group of 20 artists representing 8 countries. Viva la Revolucion will be running from July 18 - January 2 and will be open to the public from 11:00am – 5:00pm daily, 11:00am – 7:00pm on the third Thursday of the month, and closed on Wednesdays. For more information please contact Claire Caraska. Visit Out from Underground at Edgeware Gallery. The exhibit is running from July 24-September 17 and will be open from 1:00 to 7:00 p.m. on Saturdays and Sundays and from 5:00-9:00pm on Wednesdays and Fridays. For more information please contact info@edgewaregallery.com “For the first time in history, the majority of the world’s population lives in urban communities.” The first line from the “Viva la Revolucion: A Dialogue with the Urban Landscape” statement by guest curator Pedro Alonzo, stuck with me; city life has become a reality for so many individuals and this is reflected in the surge of street art infiltrating museums and galleries. The current exhibit at the downtown location of the Museum of Contemporary Art San Diego features 20 artists and incorporates site-specific works around town. One striking piece was a seemingly normal full trashcan comprised of moving trash that generated a drumming sound. David Ellis’s Busted Plume set the rhythm for the exhibit, which resonated powerfully throughout the gallery walls. Another work that caught my attention was Scratching the Surface by Portuguese artist Vhils. He chiseled away at a plaster wall exposing a layer of brick beneath the surface, strategically creating the form of a female face. I was in awe of the artist’s technique and the beauty of the piece. It could function as a site-specific installation, but it was still successful on the museum’s white gallery walls. “Viva la Revolucion” cohesively tied together artists from all over the world working in different media. The featured murals, films, and installations were visually distinct and allowed plenty of room for interpretation while still being harmonious. I was pleased that the interpretation of street art was not taken too literally but rather the exhibit explored a commentary of city life and art making. I also recently viewed the current exhibit at Edgeware Gallery titled “Out from Underground: Street Art and Modern Pop.” The gallery space was small, but the exhibit still packed a punch. There were several works covering the gallery walls creating a salon-style effect that was fitting for the theme of the show. There was a clear thread of vandalism that ran through the works; there were even a few pigeons made of spray cans placed on an awning inside the gallery (by NOWAY). This playful energy was present throughout the exhibit. HUM4N’s Che/Cher mimicked Andy Warhol’s pop art aesthetic and juxtaposed iconic images of Cher and the Marxist revolutionary “Che” Guevera. The piece had a street edge with a bit of commercial humor. Another accessible image that was integrated was that of Aunt Jemima in Kinzie Davis’s artwork Instant Racism. The piece itself looked familiar while the title made more direct commentary on the visual perpetuations of racial stereotypes. While both “Viva la Revolucion” and “Out from Underground” were very different in style it was interesting to see the infiltration of city life and rebellion contained in a gallery space. It appears that with the increase in urban living the divisions between street culture and high art are increasingly blurred. back to top
Wind up Dreams and Vinyl Nightmares by Louisa Garcia Always wondered what the Seven Signs of the Kewpie Apocolypse were. Find out at Pannikin Coffee & Tea in La Jolla where John Purlia will have a solo exhibit of his work. Exhibit starts July 3 and ends July 30. Opening hours - Mon-Sat 12pm-5pm. For more info contact John Purlia Dear Daniel, I feel as if my mind has been invaded by Kewpie dolls. I didn’t intend to allow this invasion – in fact Kewpie dolls, while cute and scary at the same time, have hardly played a part in my life up until today. Up until I walked into Pannikin Coffee & Tea in La Jolla, intent on having a frosty beverage and perhaps a nice bowl of vegan soup. Up until John Purlia’s “Seven Signs of the Kewpie Apocalypse” became both the most unique and most overwhelming art exhibit my absorbent brain has had the pleasure to soak in. John wasn’t always a photographer or creator of post-atomic mayhem and apocalyptic joy. In fact his bio states that he spent most of his adult life without a camera. It wasn’t until a little voice in his ear told him “It’s never too late to be what you might have been” that he started to become the creative whirlwind that he is now. As I sipped my beverage and ate the vegan soup I had been craving I felt as if the Kewpie dolls that sat watch all along the walls were watching me. I watched the Magic Kewpie TV and began to feel like a kid. Purlia’s art is filled with artifacts from youth; while the Kewpie dolls are prominent, other knick knacks of childhood make appearances as well. The tiny blocks with colored letters spell out messages throughout the room and his photos; green plastic army men guard and protect; Bobble Heads sit motionless in their still frames and observe the madness around them. Daniel, you would not have believed the titles assigned to each photo. There was Backstage pass in the ninth circle of Hell and Unbeknownst to her Creator Eve longed to become a cheerleader. This photo was peppered with ominous red devils that filled the frame like killer red ants. My favorite photo, Envy springs forth from the pious song of man, not only contains a Kewpie doll with a scary green head it contains the word that comes to mind when I think of Purlia’s work – envy. I envy his creativity. I envy his insanity. I envy his ability to invade my soul with Kewpie dolls. Perhaps Purlia can create a piece for me. He can call it Why the Kewpie dolls keep me awake at night and within it the superstar Kewpies can be seen hacking into my brain, searching desperately to find something, anything, creative and wonderful. Daniel, I think perhaps it is time to try some new hobbies. I’m not too good with a camera; somehow my thumb, though of average size, always finds its way into my photos. But Purlia has inspired me, and my ears are perked and I can hear his voice whispering…surprise and delight…because the apocalypse is coming. Your Kewpie Doll, Louisa Garcia is a Rehabilitation Specialist by day, Writer by night who lives in Carlsbad, CA with her loving husband David. In her spare time, she loves to read, do Bikram Yoga, hang out with her fabulous friends and relax on the beach with her new husband. Defying Expectations Preview Reception and Opening Night Performance by Katherine Sweetman Leah Cluff curates Defying Expectations: Contemporary Native American at the Oceanside Museum of Art featuring work by artists by James Luna, Gerald Clarke, Catherine Nelson-Rodriguez, and Raymond Lafferty. Opening reception Saturday, July 10th 5-7pm. Museum regular hours: Tues-Sat 10 a.m. -4 p.m. Sun 1 p.m. - 4 p.m. Exhibition open through December 12th. For more info contact Danielle Susalla, danielle@oma-online.org Defying Expectations: Contemporary Native American Art from the San Diego Region can be seen from the street as you walk by the Oceanside Museum of Art. The entryway to this street-level exhibition is painted an intense and vibrant red that immediately stands out from the white and neutral colors of the rest of the museum, and, like the red entryway, the colorful, contemporary, and diverse works in this particular show also stand out from the rest of the current work on display in the other parts of the museum. Curated by guest curator, Leah Cluff, Defying Expectations… is an attractive show and a very nice addition to the museum’s current exhibitions. The four artists in this show include James Luna, Gerald Clarke, Catherine Nelson-Rodriguez, and Raymond Lafferty. James Luna is probably the big draw for the show. His work has been showcased at such places as the Venice Biennale, the Hemispheric Institute in Brazil, Museum of Modern Art in New York, and Los Angeles Contemporary Museum of Art -- to name just a few. Therefore, it's perhaps understandable why his work is prominently displayed both in the physical space at the Oceanside Museum of Art and also on all the press coverage about the exhibition. As part of the opening evening's events, Luna also did a live performance entitled Native Stories: Basically Factual. This performance, which was a separate entity from the exhibition, seemed to be a less-scripted version of performances of his that I have seen in the past. The second half of the performance included Luna speaking with a musical back-up by Raymond Lafferty (also in the exhibition) and Maurice Caldwell. Although Luna was poised to steal the show from the other artists in the exhibition, the works that I found most memorable were two simple and powerful conceptual pieces that go together in this exhibition, Branded and To the Discriminating Collector, both by the artist Gerald Clarke. To the Discriminating Collector is a large, homemade-looking, metal branding iron. The words on the branding iron initially appear backwards and are not instantly decipherable until you see the wall next to this metal device. On the wall is a framed white paper with one word scorched into it -- the word INDIAN in capital letters, and this is the second piece, Branded. Defying Expectations: Contemporary Native American Art from the San Diego Region is a very thoughtful, powerful, and colorful exhibition, and this is good because the Oceanside Museum of Art needed a little color. The exhibition is open now through December 12th. Katherine Sweetman is an artist, educator, curator, and freelance writer for San Diego City Beat and the San Diego Visual Arts Network. She has an MFA in Visual Arts from UCSD and a B.A. from Cal-State San Marcos. The RedBall Moment by Louisa Garcia It's time to celebrate Art in San Diego. Put on your best red dress and attend the SUSHI Red Ball at the Sushi Performance and Visual Art Gallery. Sat. June 5 from 7-11pm. $60 for singles, $110 for couples. For more info: Melanie Cazimero 619.235.8466 Dear Daniel, Watch and Listen. Own and Create. Take a walk down memory lane – my memories – our memories, of the night we spent swimming in a sea of red. When I close my eyes I can still feel the vibrating floor, my heart dancing to the beat of Margaret Nobles soul rattling soundscapes. The chatter of voices envelops me as party goers mingle like red-petaled flowers inhaling the moment. Glasses kiss like songbirds, as toasts are made. I am still there. With open arms we receive dainty dishes of mouthwatering uniqueness. Fancy s’mores that melt in our mouths, mini burgers with goat cheese, gazpacho served in tiny martini glasses and cookies made from pieces of heaven. Our senses are in overload, our stomachs are content. We are in the moment. ‘Bit O’ Burlesque’ slithers around the room like sexy serpents. They come in all shapes and sizes, they are oozing laughter. They approach our table, hips swaying to the music, lips turned up. One of them sticks out her tongue. We are entertained. Animal Cracker Conspiracy awakens our minds with a puppet show. We ohhed and ahhed with strangers and at that moment, we all know one another. When a woman comes out with her newspaper and a hoop to swing on, we shrug because we do not understand, but that is okay – we didn’t have too – she understood us. By the end of the evening my wine, blood red and very dry, had helped me melt into the empty spaces. I can still feel the laughter as we watched everyone and everything until it all disappeared and we were alone. You are gone again even though I can still smell you, taste you. Perhaps the lady with the camera will see our picture and think, wow – that couple was really here, really red and really, really in love. Love, Louisa Garcia is a Rehabilitation Specialist by day, Writer by night who lives in Carlsbad, CA with her loving husband David. In her spare time, she loves to read, do Bikram Yoga, hang out with her fabulous friends and relax on the beach with her new husband. My Modern Day Hero by Louisa Garcia Take a stroll in Balboa Park and stop by The San Diego Museum of Art for the Heroes: Mortals and Myths in Ancient Greece exhibit. Exhibit runs May 22 to September 5. Dear Daniel, What is a hero? Is it your mother or father? Is it the teacher that taught you to believe in yourself. Is it a policeman or a firefighter or is it a soldier, like you? I thought about this as I strolled the halls of the San Diego Museum of Art; a mere mortal surrounded by artwork celebrating what the Greeks believed to be true heroes. Heroes like Hercules and Achilles. Heroes that were half God and half human - not entirely of this world. I’ve always been fascinated with Greek Mythology, ever since I was in High School and I read Edith Hamilton’s “Greek Mythology”. I loved reading about the Gods and their crazy escapades. There was such a romance to the drama that unfolded in the lives of the Gods and the mortals they manipulated. They were like modern day celebrities. As I strolled past sculptures of pantelic marble that appeared unbreakable. I felt close to these ancient heroes. I marveled at the carved bowls with images of chiseled men battling unlikely adversaries and stared in awe at the details each unique piece possessed. To the Greeks these men and women were not merely myths, they were real. Some of the artwork was dated as far back as 2 nd Century B.C. I can’t even fathom the history entombed in each molecule of each piece. If it weren’t for the other mortals chatting around me I swear I could hear whispers of ancient battles. The room vibrated with history. At the end of the exhibit there was a tack board where visitors could write on a piece of paper about their heroes. I looked through them, reading each one with care. Some were serious, mothers, teachers, famous scientists of religious figures. One joker had written Enrique Iglesias and I thought of you – that is something you would do. After walking through the exhibit for a second time I pulled out a paper and pen and thought of what I would write. I thought of you and your job and how in your fatigues and bald head, you are like a modern day hero. How you battle unlikely adversaries just as scary as giant one-eyed monsters. As I thought of this, I realized how little our modern day heroes are appreciated. Where are the carved bowls or the giant monolithic grave markers to commemorate the true heroes? In the end I did write your name, all in capitals with ten exclamation points at the end. I’m working on finding some pantelic marble, but you’ll have to be patient! With Love and Admiration, Rebecca Louisa Garcia is a Rehabilitation Specialist by day, Writer by night who lives in Carlsbad, CA with her loving husband David. In her spare time, she loves to read, do Bikram Yoga, hang out with her fabulous friends and relax on the beach with her new husband. Pouring It All by Out Sheena Ghanbari San Diego Mesa College Art Gallery presents Pouring it All Out, an exhibit and sale of student artwork. The art show and sale is May 4th from 4:00 pm - 7:00 pm and the show will be open May 4 -18, Monday through Thursday, from 12:00 - 4:00 pm. For more info: Alessandra Moctezuma 619.388.2829 Student art shows are by anture eclectic and Pouring It All Out was no exception. The Mesa College art show featured over 90 projects from art students with mediums ranging from drawing to installation to photography. The exhibit was planned and curated by the campus’ Museum Studies class. I thought this was a great way of integrating a practical application of the topics presented in an academic course. Each piece in the exhibit was accompanied by a placard that provided more information about the work on display. Generally it provided a title, name of the artist, and the class for which the artwork was produced. However, some students took this as an opportunity to give some background about themselves or their practice and essentially create an artist statement to contextualize their work. As someone unfamiliar with the students and the art classes offered at Mesa College, I found the information to be very helpful because it added another layer of understanding. One of the pieces that stood out from the pack was the “Time Aggressor” by Kim Garcia. She created a tree like installation using radio alarm clocks wired into extension chords. It felt like an homage to antiquated pieces of technology. Garcia’s work was appropriately located in an intimate location in the nook of the gallery where its welcomed chaos was not disrupting to the rest of the exhibit. Robert Florentino’s ceramics showed beautiful restraint. These relatively simple bowls had what I originally assumed were aboriginal markings on them, but after reading the title “Navajo Rain” I realized that I was mistaken. The detailed pattern on the ceramics looked authentic and not necessarily what I would expect from a student project. Pouring it All Out also showcased a fair amount of charcoal figure drawings sprinkled throughout the exhibit. Upon entering the exhibit there was a small screen of rotating images from a drawing course. I thought this idea was fantastic because it allowed the exhibit to feature a tremendous amount of student artwork in a limited space. I think if this screening was larger and placed more prominently it would have garnered even more interest. While the film loop does not replace the experience viewing the artwork in person it is a clever use of technology that can enhance a viewer’s experience. It would have been interesting to see a film loop of artwork from each art class. That could then become a modified form of cataloging the exhibit. Largely, the exhibit presented promising work by emerging artists. There was undoubtedly some referential work and even a few clichés, but what was more prevalent was innovation. I left the exhibit excited by the new ideas and fresh viewpoints presented in the room. Sheena Ghanbari is currently the Program Promotion Manager of UCSD’s Visual Arts Department. She has a Masters in Arts Management from the Heinz College of Public Policy at Carnegie Mellon University and has completed her undergraduate studies in visual arts and communications at UCSD. In her spare time she enjoys writing, swimming, and painting. The Animal Kingdom by Lesley Ma Marcos Ramirez ERRE (SD Art Prize) is currently Artist of the Month at the New Children’s Museum and you get a chance to see his two headed Trojan horse once more in this guise the Toy an Horse. The Animal Kingdom always brings amazement, and the current interactive and multimedia exhibition at the New Children’s Museum does so as well. Mungo Thomson’s sound installation of nature’s utterances leads you into the exhibition from the sidewalk. Momentarily you feel as if you are in a natural history museum. Before you can identify any animal call, your attention is immediately taken over by Marcos Ramirez Erre’s monumental Toy an Horse, which is the museum’s spotlight of the month. The soaring two-headed wooden horse is an exhibition veteran which made its first appearance at InSite’97 at the Mexican-US border. Eleven artists, most of them based in Southern California, contributed works to the exhibition to address the ever-evolving human interest in animals. The group thus presents a sample of contemporary artists’ uses of animals as their subject matter and motif, which, according to the curatorial text, shows significant changes from the exploitative tendencies of past generations. Each artist created an “environment” that invites children to construct their own experiences. The installations, without being overly didactic, evoke the physical traits of animals, their habitats and characteristics, and, most importantly, their relationship with humans. Perry Vasquez’s furry carpet-lined piece, titled Animal Aktion, steers children to play with the stuffed anthropomorphic props. A two-channel projection displays footage of animals at play and real-time capture of children’s actions in the space, distinct from typical museum educational visuals. Allison Wiese’s Barn Dance, a space decorated with French-influenced wallpaper printed with ladies feeding chicken in pastoral scenes, contemporizes a barn interior with a disco ball. Cushioned seating lines the walls for kids to imagine animal lives inside, while they flicker the light switches to alter the ambiance in this intimate setting. The colorful floor full of letterings and the knee-level text panels kept reminding me the target audience of the museum. Judging by the (good) noise level, I could see the kids were having an enjoyable time. There were plenty of art and animal inspired activities for them to engage in: self-operated mini chariots, design studios for making animal-inspired crafts, a story-telling station, a tube-shaped jumping gym. Kids also learn about animal behavior and movement through the monitors installed throughout the museum, which display the archival videos from the Museum of Animal Perspectives by Sam Easterson. Each station, accompanied by plaques of “zoo facts” on each animal, exhibits wildlife imagery captured through remote sensing cameras attached to the animals, attempting to “expand the public’s capacity to empathize with animals.” The piece demonstrates how innovative technology is employed in promoting understanding of animals, rather than in obliterating them. Easterson’s work – alongside those by other artists in the exhibition – assumes the educational role in teaching kids (and adults) to see from the animals’ perspective and to pay attention to our natural surroundings. They are in tune with contemporary movements raising environmental consciousness and social responsibility. Without sacrificing the fun, the exhibition manages to transmit zoological knowledge through physical interaction, fact learning, and art making. The social role of artists as community educators is underlined. Hopefully the kids and their families would leave the exhibition not just satisfied with the new facts learned, but also ready to give respect and compassion toward animals. Lesley Ma is currently pursuing her Ph. D. in Art History, Theory, and Criticism at the University of California, San Diego. She graduated from Harvard College and received her M. A. in Museum Studies from New York New Contemporaries III Opens With a Bang by Shenna Ghanbari New Contemporaries III features SD art prize nominees Greg Boudreau, Kelsey Brookes, Stephen P. Curry, Steve Gibson, Brian Goeltzenleuchter,Wendell M. Kling, Heather Gwen Martin, Robert Nelson, Julio Orozco, Allison Renshaw, Lesha Maria Rodriguez, James Soe Nyun, Stephen Tompkins . The exhibit opens at Project X: Art on Saturday April 24, with a reception from 7-9pm; it will be running until May 22 with a panel discussion on Saturday May 15 at 5:30pm. Gallery hours are from Tuesday - Friday from 10am – 5pm and Saturday from 11am - 4pm. For more information contact Chris Martino, 858-792-9685. Thirteen of San Diego’s up and coming artists showed their promise in New Contemporaries III, the current show at Project X: Art. The exhibit is a product of the San Diego Art Prize, awarded by the San Diego Visual Arts Network; prior recipients select an exceptional emerging artist who then becomes a San Diego Art Prize Nominee. The opening did not disappoint. The ambiance was warm and welcoming and the crowd exceeded my expectations. Project X was filled with art enthusiasts; at certain points in the evening there were people spilling out of the gallery. The energy in the room was exciting and fitting for an exhibit catering to rising talent. New Contemporaries III features a range of styles and mediums. I really enjoyed the detailed cutouts created by Stephen P. Curry (nominated by Robin Bright). Curry is a local artist who has exhibited extensively; his work is included in the following permanent collections: Museum of Contemporary Art, San Diego, the California Center for the Arts Escondido, and the Athenaeum Music and Arts Library . Both of his pieces were beautifully crafted silhouettes of leaves that created breathtaking shadows on the gallery walls. Another interesting piece is “Haunting,” an image created by UC San Diego MFA Candidate Lesha Rodriguez (nominated by Katherine Sweetman). “Haunting” is a manipulated photo that has a faint outline of an infant in the baby and with floral-like abstractions; the baby has beams of light coming from its womb area. While her process is unclear the overall effect of the image is dark and intriguing. I was also attracted to a contrasting mixed media piece by Allison Renshaw (nominated by Patricia Frischer) titled “Nevermind the Mainstream.” This painting was bright and bold with clear references to fashion and beach culture, and after taking a closer look I saw diamond cutouts, magazine clippings with the faces blacked out and splattered neon streaks. Renshaw is an associate faculty member at MiraCosta College and currently has a solo exhibition at the Oceanside Museum of Art. I look forward to following the new contemporaries and San Diego Art Prize and below is a list of related upcoming events: NC III Panel discussion with Artists and their Nominatoros on Sat. May 15 from 6 – 8 Katherine Sweetman with Lesha Maria Rodriguez, Kim MacConnel with Heather Gwen Martin, Tom Driscoll with James Soe Nyun, Tom Noel and/or Larry Baza with Robert Nelson, Robin Clark with Stephen Tompkins, Debra Poteet with Julio Orozco, 320 S. Cedros Ave. Ste. 500 , Solana Beach, 92075 Exhibition hours: Tue - Friday 10 - 5, Saturday 11 – 4 pm For more info: Chris Martino 858.792.9685 San Diego Art Prize 2010 at Art San Diego Contemporary Art Fair featuring Gail Roberts with David Adey and Einar and Jamex de la Torre with emerging artists Julio Orozco on Thursday, Sept 2 to Sunday Sept 5, 2010. Opening Reception: Thursday, Sept 2, 6 to 9 PM Hilton San Diego Bayfront, Hotel, 1 Park Boulevard, 92101. Hours: Fri and Sat, Feb 3/4 from noon to 8 pm, Sun, Feb 5 from 11 to 5 More info: Ann Berchtold 858.254.3031 SD Art Prize 2010 Gail Roberts at the Athenaeum Music & Arts Library on September 25 - November 6, 2010. Opening Reception: Friday, September 24 from 6:30-8:30pm. 1008 Wall St. , La Jolla, 92037. More info: athpr@pacbell.net 858.454.5872 SD Art Prize 2010 Einar and Jamex de la Torre and emerging artist Julio Orozco - April 2 to May 7, 2011. Opening reception: April 1 from 6:30 – 8:30 PM at the Athenaeum Music & Arts Library 1008 Wall St , La Jolla, 92037. More info: Kristina Meek 858.454.5872 Sheena Ghanbari is currently the Program Promotion Manager of UCSD’s Visual Arts Department. She has a Masters in Arts Management from the Heinz College of Public Policy at Carnegie Mellon University and has completed her undergraduate studies in visual arts and communications at UCSD. In her spare time she enjoys writing, swimming, and painting.
Toward Sustainability by Lesley Ma A Light Green Light: Toward Sustainability in Practice , an exhibition of interactive installations by artist Sabrina Raaf, will open at the gallery@calit2 at UCSD Atkinson Hall on Friday April 2. Opening events include a conversation with Raaf, curator Steve Dietz, and artist Jordan Crandall at 6pm and a reception from 7pm to 9pm. The exhibition is free and runs through June 4. For more info: Trish Stone 858.336.6456 I felt like an intruder into some ongoing experiments in a laboratory when I first walked into the gallery@calit2. A robotic structure sprawls against one wall in the gallery, with an electric arm just above ground, spewing out green lines like a seismometer. On the wall diagonally across, a video shows an umbrella-like structure opening and closing repeatedly hanging from the ceiling above a bed. Nearby some flat-top chair-like structures stand gregariously below knee-level. The objects seem to have a life of their own, carrying out a secret operation. I was cautious not to step on anything in the crammed space while eager to figure out how these objects relate to the exhibition theme, sustainability. How the fusion of science and art can create visual and functional impact looms over the exhibition. Artist Sabrina Raaf’s presentation during the panel on opening night addressed some of the issues. A new media artist based in Chicago, Raaf uses advanced technology to produce interactive or interpretative installations. She researches in applied sciences such as robotics, mathematic algorithms and topography, and gathers inspirations from designs by renowned architects and product designers. The resulting works, five of which are shown here at UCSD, engage in issues related to the natural environment and positive human interventions. For instance, (n)fold – the “chairs” I encountered – are dew harvesting and solar cooking vessels whose structure was inspired by Zaha Hadid’s architecture. The flat tops supported by skinny tripods are supposed to capture condensation of moisture (which I would have liked to see outdoors). Light Green Light, shown in the gallery only as a prototype and concept video, is a mosquito net folded into a lamp. The artist attributes the origami-inspired shape and operating mechanism to Scandinavian folding lamps at IKEA stores and canopy designs in urban spaces. The panelists, curator Steve Dietz and artist Jordan Crandall, praised the poetic quality of Raaf’s work in both her research process and final outcome. Our attention is brought to the artificial life the sculptures embody and to the living environment through the robotic sculpture’s interpretation. This is best demonstrated by Translator II Grower, the seismograph-producing sculpture, which responds to the CO 2 level in the gallery by drawing the measurements in green ink as a field of grass. We as viewers are aware of others in the gallery and how we impact the “growth” of the grass. Raaf’s practice speaks the language of the now: sustainability and technological innovation. However, I am hesitant to call the objects “artwork,” or to consider them participatory, as the artist’s talk suggested. Though it was unclear if the production process was a sustainable venture, the installations would fit better in a design collection or commercial catalogue that progressive individuals and institutions could acquire for green-conscious living. Many artists and designers would agree with at least one of Raaf’s confessed motives for making these installations, i.e. sustainability is fashionable. However, the role of the artist as community inventors, both visually and practically, needs to be carefully contemplated. All in all, the exhibition succeeds in reflecting the culture of “crisis induced” work, but the next task is perhaps to come up with a warmer, less didactic gallery presentation. Lesley Ma is currently pursuing her Ph. D. in Art History, Theory, and Criticism at the University of California, San Diego. She graduated from Harvard College and received her M. A. in Museum Studies from New York University. She is an editor of Lovely Daze, an artist publication out of Paris. back to topFire Breathing, Sword Swallowing by Louisa Garcia Head to Seaport Village for Busker's After Dark: An Untamed 18+ Performance. A one day event, the Busker's Festival begins at 7pm on April 10. For more info: Megan Capizzi 619-235-4014. Dear Daniel, I have met someone new. He’s not tall. He’s not dark. Heck, he really isn’t handsome at all. But Daniel, he breathes fire, real, blooming, dangerous fire. Okay, don’t get all worked up. This someone new doesn’t even know my name but I will never ever forget him. Murrugan the Mystic, the fire breathing, sword swallowing street performer. He was part of the Busker Festival at Seaport Village. I went there on Saturday night for the 18 and over show. It was out of this world. He put large pins through his skin. I actually saw it go in one end and come out the other. He swallowed kerosene which he spit into a large fireball that made the skin on my arms feel singed. At the end of his show he allowed the crowd to staple tips to his body with an industrial stapler. Five dollars for each nipple and twenty for a shot between the eyes. It was terrifying and oddly intriguing. I wanted to look away, but I couldn’t. After Murrugan, Project Dynamite came on. At first they were boring, juggling ping pong balls and cracking lame jokes but then – well, to put it lightly, all hell broke loose. Dynamite cracked me up, I almost peed my pants. They brought in people from the audience. One crazy woman was like a train wreck, a very NC17 train wreck. It’s a good thing it was an over 18 show. She was very fond of fondling the performers and at one point they had to ask her to leave the stage. By the end of the show Dynamite Project was in their underwear, standing on a tower of fold-out chairs, juggling flaming torches. I didn’t want the show to end even though my cheeks were sore from smiling and my back was aching from standing. Throughout their show Dynamite kept reiterating that they were doing what they loved. Even when their families laughed at them for wanting to be street performers, they didn’t give up. “If you don’t love what you do, get out now” one of them said while being wrapped up in chains. I didn’t expect to learn a life lesson from fire juggling street performers but I did, and when all was over I felt inspired. I felt like I could do anything, maybe even breath fire. Or maybe not, I’m not too big a fan of kerosene, but then again, who knows. Love, Louisa Garcia is a Rehabilitation Specialist by day, Writer by night who lives in Carlsbad, CA with her loving husband David. In her spare time, she loves to read, do Bikram Yoga, hang out with her fabulous friends and relax on the beach with her new husband. back to topConspiracy Theory by Katherine Sweetman Take a walk on the dark side with Conspiracy Theory at Voz Alta Project, 1754 National Avenue, Bario Logan on April 3rd from 6-11pm. Conspiracy @ Voz Alta Project is curated by Sergio Hernandez and Dan Pryor and organized by Seven Seas Tattoo Studio and The Voz Alta Project. Ok, here’s my disclaimer: I am attracted to anything (and probably everything) related to the idea of Conspiracy and Conspiracy Theories. The dark underbelly of reality (or perceived reality) is something I find very appealing, and it is a continued theme in my own work and research. I saw this show’s title, “Conspiracy,” and I knew I had to attend. Voz Alta Project is one of the very few art/music/culture venues in San Diego that make me proud to live here. Housed in a really nice gallery space on National Avenue just south-east of downtown, the Voz Alta Project continues to warm my conspiracy-loving heart with lively events that are both free of cost and free of pretentiousness. I thought it appropriate to point to the venue’s succinct and appropriate mission statement: Voz Alta is comprised of socially minded people who have continually contributed as community activists, educators, artists and performers. We are dedicated to provide the people of our region and visitors an honest and diverse cultural experience. I’ll admit that I arrived late. The beer was already gone, the crowd was lively, and there was a sort of free-for-all atmosphere in the gallery. There was probably too much artwork for the venue’s walls and too many people in the gallery to get a good look at all that work, but neither of these was particularly disappointing. Distinctly tattoo-styled designs, Pop-Surrealism interpretations of all things conspiracy-related, Freemason logos, pentagrams, goats, and aliens exploded off the walls in bright colored paintings, drawings, and graphics. The event’s success can be measured by the great turnout, and the diversity of work, ranging from T-shirts to re-stylized graphic design to paintings. There was even a rumored performance that I, unfortunately, missed. I was particularly taken with two very different portraiture pieces by artists Daryll Peirce and Kiki Platas. Peirce’s figure, in keeping with the Conspiracy theme, seemed to be a portrayal of the American nightmare. The figure, sporting Mickey Mouse ears, an American flag bandana, and a wicked expression, was painted in an ultra-realistic yet animated style that caught my eye from across the room and demanded my attention. Platas’ figure was JFK. The dead president, synonymous with the idea of government conspiracy and cover-up, was portrayed as a Mexican Day of the Dead Calaca (skeleton) character. His face was detailed with ornate decoration in this particular Day of the Dead stylized manner that in a sense honored the dead man while also reminding me of his early demise. Daryll Peirce and Kiki Platas (I found out later) both have extremely impressive backgrounds, exhibition records, features in magazines, and bodies of work that have been shown all over the world from Art Basel to the tattooed bodies of the Tijuana hipsters. The notable status of these two artists will force me to revisit the show and take a closer look at all the work and all the artists involved. “Conspiracy” was an extraordinary experience that left me feeling awash with a sense of creative energy and happiness that things like this even happen here in “ America’s Finest City”. Katherine Sweetman is an artist, educator, curator, and freelance writer for San Diego City Beat and the San Diego Visual Arts Network. She has an MFA in Visual Arts from UCSD and a B.A. from Cal-State San Marcos. Public Culture, Public Options, and Artistic Practice By Lesley Ma A panel discussion on Public Culture, Public Options, and Artistic Practice will be held at the Athenaeum Music and Arts Library at 7:30pm on Thursday, March 4. Part of the Public Culture in the Visual Sphere lecture series at UCSD, the panelists include Matthew Coolidge, Suzanne Lacy, Rick Lowe, and Rebecca Solnit. Teddy Cruz, architect and professor for public culture and urbanism at UCSD, will moderate. Participation is free. For more info: Sheena Ghanbari 858.822.7755 The discussion on March 4 th at the Athenaeum in La Jolla happened on an evening that could not have been more appropriate. The eighth in the series on Public Culture in the Visual Sphere organized by the UCSD visual arts department, this particular evening’s agenda targets the budget crisis in California public schools. Earlier that day, all UC campuses joined forces on the Day of Action for Public Education in response to the diminishing funding. An afternoon march in downtown San Diego demonstrated the public demand to save public schools. After dark, many student protestors, some of whom came down from L.A., came to hear Rebecca Solnit, Matthew Coolidge, Rick Lowe, and Suzanne Lacy talk about how their artistic practices engage in public issues. Historically, artists, like the late USCD professor Allan Kaprow, have brought their art outside museums, galleries, and academia directly to the public. The artists’ playground is no longer confined to the studio but diversified just as the speakers of this panel demonstrated. With “What the hell happened to the public option?” Teddy Cruz, UCSD professor and panel moderator, set the tone of the session. The drought in public funding for education has done incommensurable damage to the public good. Solnit, a writer and proud product of the California public school system, wittily compared the public distress caused by the budget cut to “Katrina without water.” Disasters, she argued, are occasions where joy — from acts of altruism and possibilities of solidarity — surface. I found Solnit’s deep belief in the reconstructive and self-healing power of the community comforting. But the sadness is inherent, because it takes such unfortunate events to enable a paradise to be built. The panelists believed that artists should “release their artistic license,” eloquently put by artist Rick Lowe. In other words, artists should really allow the public to see what they see. For example, Matthew Coolidge, the director of the Center for Land Use and Interpretation in L. A., introduced the Center’s public bus tours of constructed environments. He showed an archival picture of towering Standard Oil wells behind a sea of lounging beach goers in Huntington Beach, CA, to demonstrate the type of investigation he is interested in: the intersection of leisure and industrial spaces, conflicts of public interests, and environmental issues. Data collecting by an artist of a seemingly banal site is transformed into public service. Coolidge’s progressive project undoubtedly has loaded intentions. Interestingly, he dodged a listener’s question about the political messages in his practice. His light-hearted challenge to the rich and powerful would lose its poignancy by further explanation. I often wonder about the tricky relationship between artists and the establishment: the two sides can be in opposition on some issues but also could become creative partners on others. The panelists said that as long as they understand the useful qualities of various collaborative institutions, they could avoid being “co-opted.” Both Lowe’s and Lucy’s work demonstrated that universities can be a fertile ground for public culture. Cruz lauded the 48-hour mobilization of the UCSD visual arts graduate students and faculty leading up to March 4 th. A poster and website campaign with a subtly altered UCSD emblem and slogans like “for the public,” “public eye,” even “public bathroom,” were distributed campus-wide and along the protest route downtown. The impact of the actions is hard to quantify, but most witnesses and participants of the events would agree that the campaign gained public support and underscored the important role of artists in times like these. For me, the presentations reconfirmed that art for the public is empowering. Artistic interventions can facilitate dialogue within a community in a soft but impressive way. The panel, though preaching to the choir, held high hopes for sustaining the passion and creative energy after the media coverage fades. I am curious to see what the San Diego community will put forward in the coming months, as the battle for public education continues. Lesley Ma is currently pursuing her Ph. D. in Art History, Theory, and Criticism at the University of California, San Diego. She graduated from Harvard College and received her M. A. in Museum Studies from New York University. She is an editor of Lovely Daze, an artist publication out of Paris. back to topColor and Texture Infused by Sheena Ghanbari Barbara Weldon: Color and Texture Infused is opening on Fri, March 12 from 6-9 pm in conjunction with Kettner Nights, at Perry L. Meyer Fine Art. The show closes on May 1 and gallery hours are Tuesday -Thursday: 11 – 5 p.m., Friday and Saturday: 11 - 6 p.m. or by appointment. For more information: Perry L. Meyer 619.358.9512 The current exhibit at Perry L. Meyer Fine Art presents a multitude of works by the late San Diego artist, Barbara Weldon (1931-2007). “Barbara Weldon: Color and Texture Infused” includes a range of paintings, drawings and collages from 1979-2003; the pieces on display serve as a sampler from Weldon’s extensive series of works. Weldon’s passion for traveling was evident in her art. I especially enjoyed her collage pieces once I learned that they functioned more like a visual journal of her travels. She incorporated relevant found objects like newspapers, maps or money that were not readily apparent until taking a closer look. Her style seemed to vary depending on her location or mood; the “Indo-China Series” is clean and geometrical while the pieces from the “Medieval Series” are ornate and characterized by gold leaf details. Weldon’s pieces have a varying “look” about them, but one thing that is consistent throughout her body of work is that everything looks like it was created in the heat of the moment. Weldon had stated that she “…wanted to do, not teach…” but I could not help but feel a studio-teacher like quality amongst the works in “The Grid Series.” Everything from the penciled grids to the rough edges of the thick ripped white drawing paper, for me, served as visual reminders of a studio art course. A couple of stand out pieces in the exhibit include Vendage Painting #10 and Jazz Dance #50; both of these works showcase great use of color and painterly brush strokes. The first painting is one of the more abstract pieces in the exhibit and it was part of a floral series that the artist created. It was clear that the painting was a celebration of flowers and nature even though there was no discernable drawing or form, just expressive brush strokes. Jazz Dance #50 also used an almost abstract expressionistic style of painting to depict instruments and movement. The exhibit is appropriately named “Color and Texture Infused.” The show’s lively ambiance was a reflection of the wonderful sense of colors and textures on display. The Barbara Weldon scholarship fund has been created by the San Diego Foundation to provide grants to underprivileged high school graduates who are planning to attend college and major in Fine Arts. Sheena Ghanbari is currently the Program Promotion Manager of UCSD’s Visual Arts Department. She has a Masters in Arts Management from the Heinz College of Public Policy at Carnegie Mellon University and has completed her undergraduate studies in visual arts and communications at UCSD. In her spare time she enjoys writing, swimming, and painting. Driven by Silvia Vaentino by Louisa Garcia Drive yourself to St. Madeline's Sophie's Gallery to check out Driven by Silvia Vaentino. Opening reception March 5. Exhibition March 5 to April 5. For more info: Silvia Valentino, 619.379.6514 Dear Daniel, Scarves splattered with bright yellows and subdued pinks, earrings like fluffy knitted flowers, hidden feeling exploding to life on canvases of all shapes and sizes. Walking into Sophie’s Gallery was like swimming in a rainbow. I was originally visiting to see Silvia Valentino’s work, which sat like innocuous guardians on the walls. Her art is like large strips of road leading to Munchkin Land, where black and white becomes every color imaginable. I learned that the gallery is devoted to selling art created by adults with developmental disabilities and Daniel, their art is amazing. There were clocks made from old records, canvas bags with deep blues and tasty greens. I was particularly fond of a banana yellow apron made by a woman named Yolanda, which I promptly bought and wore the rest of the evening, even though people stared and pointed. Silvia Valentino is a teacher at St. Madeline Sophie’s Center and she helps to work with the adults, teaching them to share their once-hidden feelings through original works of art on canvas and many other mediums. I wonder how many people even know that a program like Sophie’s Center actually exists? Daniel, there was something about this gallery that touched me in a way that no other gallery has. I felt connected to every unique piece. I ran my fingers across the knitted dresses and tried on every scarf, twirling in front of the mirror like a little girl playing dress up. I felt connected to every artist. So many times I look at art and don’t feel a connection but that wasn’t the case at Sophie’s. I wanted to meet Yolanda and show her how much her work meant to me, maybe watch her create. There are truly no words to express the uniqueness of Sophie’s Gallery. I will visit again and bring my friends because at Sophie’s there is not only art but love, all around. Love, Louisa Garcia is a Rehabilitation Specialist by day, Writer by night who lives in Carlsbad, CA with her loving husband David. In her spare time, she loves to read, do Bikram Yoga, hang out with her fabulous friends and relax on the beach with her new husband. State of Mind: A California Invitational by Lesley Ma State of Mind: A California Invitational , a sum view of the latest photographic practices of twenty-one Californian artists is presented at the Museum of Photographic Arts presents The exhibition is one view from Feb 6 to June 6, Tuesday to Sunday from 10am to 5pm. More info: Jana Holsenback 619.238.7559 I have been eager to learn more about Californian art and sensibility since moving to San Diego six months ago. “State of Mind: A California Invitational,” a first-of-its-kind juried exhibition at the Museum of Photographic Arts (MoPA), offers several perspectives. The show’s twenty-one participants are selected from a pool of photographers nominated by respected art institutions and professionals in the state. The artists, many of whom devote their time to teaching the next generation of Californian artists, turn their cameras to nature, literature, suburban culture and landscape, history, constellation, and the photographic process for inspiration. The featured works present tellingly diverse interests not necessarily exclusive to California, but they reflect the state of the photographic mind today. A few works struck a chord with me. Three selections from Susan Rankaitis’ Interoception (all 2008) series are drawings involving collage and organic exposure on photographic paper, a direct extension of the artist’s mind. A graceful combination of enigmatic abstract marks and microscopic images, along with intentional blanks in the composition, create a cartographic record of the picture making process. Todd Hido’s roadside landscape series Roaming (three of which are shown, between 2006 and 2008), double-filtered through his camera and his car window, continues the American tradition of “road photography” with a blurry twist. Shot with color film, Hido portrays the edge of civilization in Northern towns with a heavy gray, smudgy palette. The wet windshield gives the low-hanging clouds and gloomy horizon an atmospheric, ink splash effect. The lone photographer confined in his car seems to find solace in the desolate trees in the drizzling rain, which are suspended in time. Moving further into nature, Brian Forrest’s two photographs from 2006, steeped in various shades of gray and black, wrap a deep corner of a canyon forest at dusk in mystery. Once my eyes adjusted to the darkness within the frame, a mesmerizing field of patterns created by the branches, leaves, bushes, and barks was revealed to my delight. With no traces of civilization, the scarce natural light allows the organic energy of nature, disorganized yet following its own logic, to exude through the work. The most somber work in the show is Ken Gonzales-Day’s Erased Lynching series (2006) where he investigates the neglected history of Latino, Native American and Asian-American lynching victims in California. In the 15 appropriated photographs, the artist removed the victims and ropes from archival postcards, showing the voided “climactic” point in the composition. He asks us to re-think the dark history of America with a sharper focus not only on those who were persecuted, but also on the social apparatus that created the tragedies. In light of the recent racial incidents on the UCSD campus—one involving a noose—Gonzales-Day’s series eerily underscores the danger of forgetting prejudiced history in our immediate environment. The irresistible visual lure of the works in “State of Mind” embodies compelling forces: I was pushed to think beyond the printed surface and linger within the picture frame at the same time. The elegantly installed exhibition showed not just the relationship between man-made and natural landscapes, but also the artistic attention to the living environment and multiple (and troubled) histories—and most importantly, the artists’ generosity of sharing their discoveries. Lesley Ma is currently pursuing her Ph. D. in Art History, Theory, and Criticism at the University of California, San Diego. She graduated from Harvard College and received her M. A. in Museum Studies from New York University. She is an editor of Lovely Daze, an artist publication out of Paris.Allison Renshaw: Plastic Fantastic by Lesley Ma Allison Renshaw: Plastic Fantastic is opening on Sat. Jan 30, 5 -7 pm at the Oceanside Museum of Art ( 704 Pier View Way, Oceanside , 92054) There is a gallery Walk and Talk with Renshaw on Thurs. Feb 25, 7 pm and the show continues until June 20. More info: Danielle Susalla 760.435.3720 Allison Renshaw’s solo exhibition, “Plastic Fantastic,” consists of 25 dazzling mixed media paintings made between 2006 and 2009. Each work is an assemblage of images of luxury and leisure products and female bodies with overlapping painted and decorative motifs. The printed photographs are mostly from glossy fashion, surfing, and art magazines. Many are arranged in a spiral formation; others simulate downward slides. As the title of a painting summarizes, Chutes Too Narrow (2008), the arrangement of images in the series seems like suspended action inside an overfilled chute. Subscribing to the Surrealist (non-)logic and adopting the techniques of contemporary video editing, Renshaw creates a centrifuge that sucks one into her world—one which we all inhabit. When we get past the initial retinal stimulation, we find ourselves seduced by haute couture, designer jewelry, bikini-clad bodies, robotic parts, and beach scenes. Renshaw then skillfully pulls us from the swirls to the painting’s surface by strategically placing irregular-shaped painted blots throughout the plane. In Pervette (2009), green egg-shaped blots are interspersed between peachy satin and drapery; in Tiny Little Sparks (2009), hot pink teardrops and silver light flashes punctuate an industrial gray background. Once our eyes catch a stopper, we suddenly notice all of them in the composition. They disrupt the flow of the images and call our attention to the painter’s presence. They urge us to stand still—visually and physically—before moving forward. The viewing becomes a game of free association*, but Renshaw does not make it easy; all of the borrowed images are touched by the painter’s brush or scissors. The artist manipulates the images of perfectly airbrushed models so that their faces are obscured. Is she commenting on the blindfolded, homogenous desire for material goods in our society? Or suggesting they are disposable? Despite the chaotic appearance, why do these items look so right together? One of the most attractive works, Chlorophyll Gum (2009), opens the show. Commissioned by the museum, the 72-by-96-inch work represents the intertwined worlds of fashion, fine art, and nature. An advertisement for a Deutsche Guggenheim exhibition is torn but focuses on a gum dispenser. Last season’s most coveted stilettos and bags are juxtaposed with larger-than-life sushi rolls. An upside-down image resembling the Arsenale in Venice is pasted next to verdant plants. The reference-laden painting stirs our cognitive stock and leaves us with plenty of question marks and blanks in which to insert our imagination. The series exemplifies some of the most common everyday activities: downloading and browsing. Renshaw’s work alludes to the open source culture, as the curator’s wall text suggests. She fuses the two- and three-dimensional and replicates the rapid flashing and concoction of images we see in contemporary media. The dormant images from ads stored in our memory are activated by the paintings, as the artist challenges us to rethink their purpose of occupying our mind and visual space. This exercise lingers as we exit the museum into the Oceanside sky and ocean, giving the urban desires an otherworldly feel. * The show ends with Untitled (2009) accompanied by a write-and-post station that encourages the visitors to contribute to a competition for the title, inspired by their viewing experience of the work. Lesley Ma is currently pursuing her Ph. D. in Art History, Theory, and Criticism at the University of California, San Diego. She graduated from Harvard College and received her M. A. in Museum Studies from New York University. She is an editor of Lovely Daze, an artist publication out of Paris. In the Garden of Mythos by Louisa Garcia The Martha Pace Swift Gallery Grand Opening (Building 201, NTC, 2820 Roosevelt Road, SD, 92106) is coming to soon! The inaugural exhibit The Garden of Mythos: Abstraction in Collaboration with Nature- Anna Zappoli curated by the Expressive Arts Institute is on view with an opening reception at 6 to 9 pm on Feb 5. Show continues until April 2. Admissions is free. For more info: Judith Greer Essex 619 239 1713 Dear Daniel, I have come to invite you with me on a journey. It is a journey that can be taken without steps, without leaving your room. It is a journey that I wish not to take alone but with you, and not in any normal mode of transportation but through the wonderful rise and fall of words, beautiful, dancing words. I visited the Martha Swift Gallery yesterday and have come away feeling light, almost as if I have grown wings and have taken to the sky. Will you join me? In the Garden of Mythos two people It is as if Anna Zappolli was hiding behind her paintings, hanging so innocently on the walls. She whispered as I passed, told me the secrets that only the birds know. I tried to answer her, to bury myself in the hard earth, so that I might grow, green and filled with life. Daniel, you are the man in the paintings, deep in the earth, beside me, sharing the sun, as we grow and grow and grow. I shall write again soon, on paper, made from the trees, their skin, my pen, together, making love as I tell you about my day. Until next time, sweet blue bird, I love you. From the Garden, Louisa Garcia is a Rehabilitation Specialist by day, Writer by night who lives in Carlsbad, CA with her loving husband David. In her spare time, she loves to read, do Bikram Yoga, hang out with her fabulous friends and relax on the beach with her new husband. Circle of Complication by Sheena Ghanbari Circle of Complication showcases the kinetic sculpture and drawings of David Ghilarducci. The exhibit will be running from Feb 4 – 28, with an opening reception from 6-9 pm on Feb 5, at Sushi Performance and Visual Art. For more information please contact Patrick Stewart. “Circle of Complication” was like nothing I have every visited; it puts a new twist on the interactive exhibit. Imagine a show where the walls are blank at the beginning of the evening and you get to be part of the process of covering those walls. Not only could you affect the creative outcome of the drawings on the wall, but, even more impressively, you are privy to watching a unique machine generate the drawings. The current exhibit at Sushi Performance Art features the kinetic sculpture and drawings by Dave Ghilarducci, curated by Brian Goeltzenleuchter . The kinetic sculpture sits in the center of the space and is without a doubt the star of the exhibit. The sculpture is a large machine that looks like a highly complex record player with a multitude of wires and gadgets. There are two slots in the sculpture that are designed to hold Sharpie markers which randomly glide back and forth on sheet of paper creating images similar to that of a child’s spirograph. The kinetic sculpture is custom built by the artist—from the welding to the software everything is designed with acute awareness and intent. Ghilarducci has the meticulous eye of an engineer with the passion of an artist. There are many examples of artist utilizing technology to create artwork, but what makes “Circle of Complication” original is that the drawing machine has taken center stage as the artwork and the images merely become “artifacts.” Ghilarducci has clearly put his heart and soul into creating this stunning sculpture. Yet he openly pulled back some of his artistic control when it came to the creation of the drawings on the wall, so much so that I was actually able to pick a set of Sharpie colors that were integrated in the final drawing. I was immediately drawn to a lime green color and received some assistance in my second selection of a silver marker. These colors became part of one layer of the spirograph. The audience was very much involved in not just viewing, but also shaping the exhibit. While the artist and curator left room for interpretation in the exhibition, there was a strong allusion to the importance of play. There is the paradox of having a highly sophisticated and possibly overcomplicated piece of machinery create something so simple and classic. Ghilarducci cited the changes in childhood play with the increasing role of technology. His piece served as a means of exploring this topic without making a positive or negative stance on the growing role of technology in reference to toys. In the end, central kinetic structure was more powerful than the drawings it created or the social commentary it ignited. Addendum University Art Gallery: M(otherland) works by lauren woods The exhibit felt unified and intimate while raising interesting questions about the dramatized lens often used to view the continent of Africa. Sheena Ghanbari is currently the Program Promotion Manager of UCSD’s Visual Arts Department. She has a Masters in Arts Management from the Heinz College of Public Policy at Carnegie Mellon University and has completed her undergraduate studies in visual arts and communications at UCSD. In her spare time she enjoys writing, swimming, and painting. Viva Venezia…And Las Vegas by Sheena Ghanbari An exhibit of Neda Miranda Blaževic-Krietzman’s photography will be showing at the Athenaum Music & Arts Library from January 9 – February 13 and is open to the public Tuesday-Saturday 10:00 am - 5:30 pm and Wednesday 10:00 am - 8:30 pm. The opening reception is on Friday, January 8, from 6:30-8:30 pm; for more information please email events@ljathenaeum.org It is somewhat criminal that I live walking distance to the Athenaeum Arts & Music Library, but I hadn’t stepped inside until just recently. I was under the misconception that the Library was only open to members and was happily surprised when I realized that it is open to the public five days a week. This charming venue actually has three distinct spaces that exhibit art: the Main Gallery, Rotunda, and North Reading Room. The Rotunda is currently featuring Viva Venezia…And Las Vegas, a photography show by artist and writer Neda Miranda Blazevic-Krietzman. As the title suggests, the pieces in the show present juxtapositions of images from Venice and the famous Venetian Resort in Las Vegas. Each image is plainly divided in half, one side being an authentic photo from Venice and the other an image taken at the luxury hotel, and while that sounds like a literal artistic approach the visual outcome was surprising. Some of the images did present the more anticipated startling contrast; one example is the photograph of a modern-day model on a billboard paralleled to a quiet representation of an antiquated statue of a woman. There is an obvious tension in this image. If all of the works followed in this vein I would argue that the artist is bringing to light the shortcomings and discrepancies of this fabrication. However, many of the pieces illustrated subtle differences between Venice and The Venetian, and in some images I could not readily discern where the image was from. This is when I realized that the exhibit was more about nuances and replication than jarring or garish disparities. Looking back to the written description of the show, Blazevic-Krietzman actually states that the motivation for Viva Venezia…And Las Vegas came from her curiosity as to why “why we copy things we like or (dislike), and why the copies of some remarkably unique artwork and architecture make us (almost) as excited, amused, and surprised as the originals themselves.” While the Venetian will never have the allure of the real Venice the act of recreating a masterpiece certainly sheds light on the original and provides a basis for a greater dialogue. Sheena Ghanbari is currently the Program Promotion Manager of UCSD’s Visual Arts Department. She has a Masters in Arts Management from the Heinz College of Public Policy at Carnegie Mellon University and has completed her undergraduate studies in visual arts and communications at UCSD. In her spare time she enjoys writing, swimming, and painting. Michele Guieu Takes Command of The Art Produce Gallery by Katherine Sweetman Come out Saturday, January 9th, to take part in A Casual Conversation with Artist Michele Guieu at the Art Produce Gallery as part of her exhibition that is currently on display titled Lucy, Darwin and Me, 6:30pm, 1/09/10. For more info contact Lynn Susholtz 619.584.4448 Lucy, Darwin and Me was an extremely well designed, multi-layered, and engaging show that took over the Art Produce Gallery from December12th to January 24th. On January 9 th, the artist, Michele Guieu, gave an informal talk and explained the show, her impetus for creating the work, and some of her relevant background -- like the fact that her father is a geologist, her mother is a biologist, and her family lived, for a while, in Africa. The overall design of the show was flawless. As a former professional graphic designer, Michele Guieu utilized her knowledge of layout, craft, and presentation to shape the bizarre physical space of the Art Produce Gallery (a large storefront with a small backroom) into an exceptional exhibition. In a statement on the piece, Guieu described the show as having a “museum-like ambience,” and although the show demonstrated qualities of a more permanent, natural-history museum show, there was something much deeper, personal, and intense that occurred in this work. It was the opposite of most gallery exhibitions in which a series of objects are relocated to any space for a given duration where they will hopefully be sold. This show was specifically created for this space and the multiple audiences that came in contact with the work. Also the work was essentially destroyed when the show ended. The major hub of the piece, the mural, was painted over and only pieces were salvaged. The physical layers of the piece included text on the storefront’s glass and the abstracted (but not abstract) mural on the wall depicting skulls and bone fragments belonging to “Lucy” (a hominid that lived some 3.2 billion years ago and was discovered in 1974 on the horn of Africa during the same time Michele and her family were living there). Hanging on the mural were specimen-looking pen and ink drawings that stick out of the wall and there were also even smaller color photographs on top of the painting. It made the skin of the mural speckled with a sort of historical, multimedia record. But that’s not even beginning to scratch the surface layers. There was text inside, postcards, press, a large statement and essay on the piece. The backroom led us to another pivotal, and more personal, layer of the show. There was a series of large photographs taken by Michele’s father, a layout of some of his geology tools and a video piece in which Michele, in her beautiful flowing French accent describes the tools with a desert backdrop. The layered nature of the exhibition extended into a number of events, an opening, a panel talk, and an artist’s talk. Perhaps the most striking thing about this work was what theses layers do for the audience. There were multiple levels of engagement available for the many audiences of this gallery. The majority of those that witnessed this work see it as they cruise by at 25 mph (since the storefront gallery is right on University Avenue). Lucy’s huge skull was intended for them. The pedestrian, walking by, could view this mural behind layers of strange text, “sexual,” “apes,” “evolution” - the words stand out on the window inviting questions. Because the gallery is attached to a café, the occasional patron might wander in accidentally, and then be lulled into the back room by Michele’s lovely voice coming from the video monitor, and if you desired even more from the work you could attend the events, read the texts and press, and hear the artist talk about the work. The full richness of the work, its history, its levels, and its layers were a fantastic experience for all those who witnessed it. Katherine Sweetman is an artist, educator, curator, and freelance writer for San Diego City Beat and the San Diego Visual Arts Network. She has an MFA in Visual Arts from UCSD and a B.A. from Cal-State San Marcos. She is also the Director of Lui Velazquez, an alternative art space and gallery in Colonia Federal, Tijuana Movers and Shakers 2 :Who's Who in SD Visual Arts by Louisa Garcia Start the New Year off right, check out "Movers and Shakers 2: Who's Who in SD Visual Arts" at the Arts Expressions Gallery. Opening reception Thurs Jan 21 from 6:30-8:30, Exhibition Jan 21 to Feb 6. Opening Days Mon-Fri 9am-5pm, Sat 10am to 5pm. For more info: Patricia Frischer 760.943.0148 Dear Daniel, How quickly you have come and gone. You move me. You shake me. Saying good-bye again has left me shattered. Pieces of me have blown away in the wind, pulled into the sky as you flew away, again. After you left I moped around the Art Expressions Gallery. I felt so alone without you, in a sea; a sea of portraits. They watched me, moving about the room, watching them. I stopped at Irina Negulesco’s portrait of Sandi Cottrell, eyes peeking out at me, awash in a sky of blue, tempting me to dive in, to swim in an ocean of paint. Some of the portraits were so true to life, I expected the people in them to jump out and hold me, paint rubbing off on my clothes, like lipstick stains on my cheek. Vanessa Lemon’s portrait of Jim Gilliam starred at me until I broke down and told him all of my secrets. Soon enough I wasn’t feeling so lonely. Tony Peters invited me along with Patti and Coop Cooprider as they happily shopped, smiles spread across their faces, like flowers after the rain. I expected them to invite me over for tea or cocktails, or even milk and cookies I imagined you were back and we were at a party, with all the portraits there, mingling together; glasses tinkling together like wind chimes as everyone laughed and snacked on tiny food. I could almost see you, swinging a thin stick into Alberto Caro’s piñata portrait of Ernest Silva, a gash along his midsection revealing sublime candies that we eat until our bellies ache. It is Cheryl Sorg’s portrait of Angela Carone that I like best of all. Two large thumb prints, the lines of uniqueness filled in with her favorite movies and books. I wonder what happens if she pricks her finger, will she bleed words, oh beautiful, dangerous words. As I leave and prepare to send you this letter I have decided to attach a picture of me. It is from my first birthday party. In it, my face is covered in deep purple icing. You can put it on your wall, or cut it to pieces and put it back together, or you can keep it in the envelope and forget me, it’s up to you. I leave you now, my mover, my shaker. Write again when you get the chance. Have fun on the east coast. Lots of kisses and giant hugs. Always Yours, Louisa Garcia is a Rehabilitation Specialist by day, Writer by night who lives in Carlsbad, CA with her loving husband David. In her spare time, she loves to read, do Bikram Yoga, hang out with her fabulous friends and relax on the beach with her new husband. The views put forth on this page on not necessarily those of San Diego Visual Arts Network and SDVAN neither endorses or is responsibly for them. Please contact the writers directly with your comments The reports are chosen from events that are listed on the SDVAN site in approximately the previous 30 days. 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