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Jim Voorhies (CCA Dean of Fine Art) presents 10 books from the Bureau for Open Culture

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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

Art makes an impact on our perspectives of the world. During times of crisis, art is arguably at its best because it has the potential to mobilize us, to critically reflect and to move us to action. Here are 10 books that direct our attention to the extraordinary ways in which art and artists have changed the world, across the ages in moments of social, political, and economic struggle.
This reading list was compiled by CCA Dean of Fine Arts James Voorhies shortly after the election of Donald J. Trump and sent to the college community.

Terri Friedman (CCA Faculty) in solo exhibition at ACME Gallery

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Terri Friedman (CCA Faculty) in solo exhibition The Smell of Gasoline

ACME, 2939 Denby Ave, Los Angeles

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!

Linda Fleming (CCA Faculty) in solo exhibition @ Brian Gross Fine Art

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Linda Fleming (CCA Faculty) in solo exhibition Aerious 

Brian Gross Fine Art, 248 Utah Street, San Francisco

March 4 – April 29, 2017

In her newest body of work, Linda Fleming has continued her exploration of sculptural forms that simultaneously define an interior space and an exterior topography.  Fleming’s multicolored powder-coated steel sculptures are comprised of a lacework of flowing linear patterns cut into the steel.  This patterning reveals the dynamic inner spaces of the forms and creates a heightened sense of light and shadow within and around the works.  Fleming’s sculptures are meditations on the metaphysics of geometric forms. In them, she combines layers of color with the latticework cutouts to create optical effects in the viewer’s eye that change as the sculpture is viewed from different vantage points. 
On view will be Dusk, Apogee, and First Light, all recent monumental works whose complex geometries and architectures allow them to defy the weight of their materials.  Also on display will be Fleming’s polychrome dimensional wall reliefs, which continue her exploration of color and shadow through precisely spaced layered panels that project off the wall to activate the space around them, and one of her signature chrome-plated wall reliefs.

Additional works in the exhibition include large pastel drawings that explore linear forms and a group of three maquettes for full-scale works, which Fleming has editioned for the first time.  Made of laser cut plywood, the maquettes invite the viewer into the artist’s process for creating her larger free-standing sculptures. 

Amy Balkin (CCA Faculty) in group show at Hood Museum of Art

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Amy Balkin (CCA Faculty) in group exhibition Mining Big Data

Hood Museum of Art, Dartmouth College, 6 E Wheelock St, Hanover, NH

February 24 – April 30, 2017

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.  

Amy Balkin (CCA Faculty) in group show @ Fridman Gallery

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Amy Balkin (CCA Faculty) in group exhibition Evidentiary Realism

Fridman Gallery, 287 Spring Street, New York

February 28 – March 31, 2017

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

The Films of Ana Mendieta: Panel Discussion with Karen Fiss (CCA Faculty)

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The Films of Ana Mendieta: Panel Discussion with Karen Fiss (CCA Faculty)

BAMPFA, 2155 Center Street Berkeley

January 28, 2017 @ 1pm

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: 2017 (CCA Faculty) Staff Exhibition

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Make Art/Work: 2017 (CCA Faculty) Staff Exhibition

College Avenue Galleries, Oakland Campus, 5241 College Avenue (at Broadway)

January 17 – 21, 2017

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.

RESISTANCE TRAINING @ MILLS COLLEGE (organised by CCA Faculty Glen Helfand)

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RESISTANCE TRAINING

Organised by Glen Helfand (CCA Faculty) at 

Slide Space 123, Mills College, Art Department, 5000 MacArthur Blvd, Oakland

January 18 – February 10, 2017

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. 

http://www.slidespace123.org/

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