Jim Voorhies (CCA Dean of Fine Art) presents this too will have been
Reading Room, CCA Hubbell Street Galleries, 161 Hubbell St, San Francisco
February 24 – April 29, 2017
February 24 – April 29, 2017
February 25 – March 25, 2017
The process of weaving is unforgiving, mathematical, and imperfect. There is no painting over. It is like a digital printer, generated from the bottom to the top until an image is formed. Like many weavers, my process is not organic. After drawing, painting, picking palettes for warp and weft (the vertical and horizontal threads), measuring, laying them out on grid paper, I am ready to warp my loom. Though there is room for spontaneity, each warp thread and each section of the painted image is mapped out on paper before I begin. I like the very basic and straightforward technology of a loom. It is ageless.
Weaving color. Yarn as paint. I have BOXES of yarns sorted by color and fiber. I welcome the tension between the natural fibers next to mass-produced artificial neon color yarn or even painted cotton piping. I am interested in the sickly sweet, awkward, uncertain, chromatic, theatrical, and ornate because it mirrors the unhinged world and fragile ecosystem we live in. The more I use these opposing fibers, textures, and palettes, the more it mirrors agitation. Because sometimes we just want to scream!
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Art encompasses all things, so it is not surprising that artists have embraced big data as both a tool and subject of their work. In very different ways, Amy Balkin and Luis Delgado-Qualtrough use data-driven research to grapple visually with such topics as climate change, the demands on global natural resources, carbon emissions, solar energy, and the effects of various human activities on a global scale. Amy Balkin’s poster titled The Atmosphere: A Guide explores the influence of history and politics on the Earth’s atmosphere. Luis Delgado-Qualtrough tackles the problem of carbon accumulation with 10 Carbon Conundrums, a word-and-image essay that recombines historical events, dates, and GPS coordinates.
Evidentiary Realism features artists engaged in investigative, forensic, and documentary work.
The exhibition aims to articulate a particular form of realism in art that portrays and reveals evidence from complex social systems. The truth-seeking artworks featured explore the notion of evidence and its modes of representation.
Artists: Nora Al-Badri & Jan Nikolai Nelles, Amy Balkin, Josh Begley, James Bridle, Ingrid Burrington, Harun Farocki, Hans Haacke, Thomas Keenan & Eyal Weizman, Navine G. Khan-Dossos, Mark Lombardi, Kirsten Stolle, Suzanne Treister.
Curated by Paolo Cirio
Learn more about Ana Mendieta’s compelling filmworks with film critic/historian B. Ruby Rich, writer/curator Karen Fiss, expert in Latina/o visual and performing arts Laura Pérez (UC Berkeley), and independent filmmaker Raquel Cecilia.
Make Art/Work is an exhibition of CCA staff members. In its physical form, this exhibition presents the individual practices that the diverse staff at CCA explores in their personal time outside of work.
Exhibition and events offer a bolstering sense of community in the midst of a tumultuous political era.
On the eve of the inauguration, and into the first days of a new regime, Resistance Training, a presentation of recent a new artwork and activism, provides a needed opportunity to gather aesthetic and artist community forces and brace for what comes next. Organized by curator Glen Helfand, the exhibition focuses on aesthetic gestures that offer models of resistance to negative shifts and ideas for action, be they poetic, ideological, or forceful protest. The location on the Mills College campus offers the opportunity to create a space for gathering that draws upon intellectual resources and dialogs.
In the realm of fitness, the term resistance training refers to exercising muscles using an opposing force. The official transition of power to a game changing new U.S. president, which occurs on January 20, is a large, heavyweight force to oppose with the purpose of becoming stronger. Various communities, artists and activists, are banding together in dialogue and creative action to engage strategies for survival in what promises to be a challenging period.
The exhibition will include artworks, actions, and demos of strategies for survival. Artists include Luke Butler, Ana Teresa Fernandez, Sarah Hotchkiss, Omar Mismar, Melissa Wyman, Rachel Weidinger, Andrea Bowers, Alex Molinari, and others. Resistance Training also will include Post Fax, a faxing campaign targeting office workers, interns, and others with pertinent messages sent through a form more tactile, and perhaps urgent, than social media; and be an affiliated venue for 100 Days, an artist-organized calendar featuring one daily artistic response to Trump’s first 100 days in office.