Feb 092016
 February 9, 2016



Dewey Ambrosino

Kristi Lippire

Renée Petropoulos

Margo Victor

Jennifer West

organized by Marcus Herse

February 1 – March 11, 2016

Please join us for the artist reception and catalog release on Sunday March 13, 2016 from 4-6 p.m.

Guggenheim Gallery at Chapman University

One University Drive

Orange CA

Aside from its meaning as a state of psychological well being, the word ‘high’ implies value and authority. High school, high art, and high culture are respectively the best versions, and prepending ‘high’ to these nouns attests to the quality of their objects. The German term “Hochdeutsch” (High-German) suggests that the most accent-free type of speech is superior to all other dialects, and that there is a right and a wrong way of speaking the language even though grammatically there is no difference. High can also imply unobtainability, a desired result may be out of reach, and of course we must ask– high in relation to what? Naturally, to its counterpart, ‘low’ – Go figure. Deepening this thought, however, we see that when speaking about high versus low culture we ultimately speak about the Judeo-Christian concepts of good and evil, Heaven and Hell, and all their implied value judgments. Through this language we inform our politics, ethics and philosophy and not, at last, our aesthetic decisions.

Well, how do you get high? – By going up.

Up, in contrast, speaks about directionality, and although it could be used to describe how to actually get from Hell to Heaven, the word leaves the destination undeclared. Even when you’re high you can still go up. While up is also situated within the polarity of high and low, it itself is relative to the individual agent’s position within the whole, as opposed to high which suggests an absolute point of reference, the final desired state. Up emphasizes the path, not the outcome, it emphasizes possibility along the way, rather than a value judgment.

Lastly the ‘up’ we are talking about must not be confused with the relentless brutality of the positivism prescribed by the media and the advertising industry. Our ‘up’ leaves questions of superiority and functionality behind, and asks for our position within the whole, the individual within the structures of our world, in which we move in more or less straight lines, upward-ish.

In this sense, up is the direction the artists in the show take, to elevate us and see our world from remote vantage points. Some literally lift the camera into the air or focus their lens onto celestial bodies, while others move up in spiritual ways, placing our understanding of the political, economic and scientific order ‘up and away’, outside of society’s usual lines of vision.
Dewey Ambrosino’s practice examines the presence of absence through subtraction and transmutation.  It explores how action can reveal cultural conditioning when applied to material elements and signifying objects.  It observes how the poetics of aesthetic phenomena combined with our longing for sensation create matrices of imagination and meaning.

Ambrosino exhibits and performs internationally, and is current faculty at Art Center College of Design.  Recent solo exhibitions include: Rosamund Felsen Gallery, Long Beach City College Gallery, Las Cienegas Projects.  Recent group exhibitions include: Sàn Art – Ho Chi Minh City, VietNam, Samuel Freeman Gallery, UCLA Hammer Museum, New Art Center, Newton, Ma, Earmeal Performance Series, 356 Mission Gallery, Picnic Invitational, ReModel Sculpture Symposium @ Claremont Graduate University, Trespass/Parade – LACMA & West of Rome Public Art, LACE, Goethe-Bunker – Denmark, MOCA LA, MOCA Miami, Municipal Art Centre Fundación Astroc – Madrid, Spain, ARCO International Contempoary Fair, Coachella, Nueva Cinema Festival – Laforet Museum Harajuku, Tokyo, Internationale Kurzfilmtage 49 – Oberhausen.


Kristi Lippire makes large-scale objects that reference the visual culture that surrounds her every day. Her work explores scale through materiality, skewing moments that emphasize humor within our complex social culture. Lippire received her MFA from Claremont Graduate University and BFA from California State University, Long Beach. Her work was included in the exhibition, Alexander Calder and Contemporary Art: Form, Balance, Joy that opened at the Museum of Contemporary Art in Chicago and travelled to Nasher Sculpture Center in Dallas, Orange County Museum of Art, and Nasher Museum at Duke University. She has had solo exhibitions with Commonwealth & Council, d.e.n. contemporary art and Ace Gallery and group exhibitions at Torrance Art Museum, Glendale College Art Gallery, and Riverside Art Museum. She recently completed a three-week residency and exhibition at Queiros Galeria in Guanajuato Mexico. Lippire is also an independent curator and recently completed a F.O.C.A. Curator’s Lab project in late Spring of 2015. This spring Lippire will be exhibiting a new outdoor sculpture as part of the Sam Maloof Foundation’s Biennial Garden Exhibition in Mira Loma, CA.


Margo Victor is a Los Angeles based filmmaker, visual artist and musician. She has been making 35 & 16 mm avant-garde films, since the mid 90′s. While at the California Institute of the Arts she studied with Michael Asher and Jules Engel. Her films and installations have been exhibited in Los Angeles, NYC, Paris and Cologne; a solo exhibition of film and sculpture was at the Los Angeles Museum of Art (or LAMOA) in 2013 and she maintains a concept band with revolving personnel called Black Flower.


Renée Petropoulos has created projects and exhibited internationally. Most recently embarking on the project “Among Nations (Mostly)” with a performance “Analogue” (2012) at the MAK, Venice to Venice (2012)  as part of the Hammer Museum’s Made in L.A. and “Women in Surrealism” for LACMA (Los Angeles County Museum of Art). “Black Star”, begun in 2006, is a performance in continuum in Berlin.  Her most recent installment of “Prototype for the History of Painting: Eingrouping Social Historical” was installed in MARTE San Salvador, El Salvador.  Her recent film, “Two or Three Things I Know About Gas Station Mini Marts” screened at Screening, in Philadelphia.   The outdoor public sculpture project “Bouquet”(Flower Tower) Between Egypt, India, Iraq, the United States, Brazil, Ethiopia, and Mexico”, situated in Santa Monica, California at a street and pedestrian intersection was completed in spring, 2014.   An exhibit of related subject, “Bouquet(Flower Girl) Between Libya, the United States and Scotland”, was installed at LAMOA in Eagle Rock in May 2014.  Petropoulos’ monument drawings were also included in “Forms of the Formless” at Beijing Moca, curated by Marlena Donahue.

This past fall she presented a new project, From the United States to Mexico/ From Mexico to the Untied States, at Commonwealth and Council which included a choreographed performance. She is currently exhibiting Monument 1 – conjugation, with the Proxy Gallery in Paris. In 2016, a cd of sound work, Between Libya, the United States and Scotland, created with composer Greg Lenczycki, will be released.  In the fall of 2016 a new work will be performed with the Isaura String Quartet. She just returned from Naples Italy where she has been working on a collaborative project, with Neopolitan scholar, Denise Spampinato.


Jennifer West is an artist, who for over ten years, has gained international recognition for her explorations of materialism in film.  Significant commissions include High Line Art, New York and the Turbine Hall at Tate Modern, London, Aspen Art Museum, among others.   Her work is included in numerous public collections, including the Los Angeles County Museum of Art, Los Angeles, California; the Hammer Museum, Los Angeles, California; the Columbus Museum of Art, Columbus, Ohio; the Kadist Art Foundation, Paris, France, and San Francisco, California; the Saatchi Gallery, London, United Kingdom; the Rubell Family Collection, Miami, Florida; the Museum of Old and New Art, Hobart, Australia; the Zabludowicz Collection, London, United Kingdom.  West’s solo exhibitions include Lisa Cooley Gallery, NYC; Focal Point Gallery, Essex, UL; S1 Artspace, Sheffield, UK; Contemporary Arts Museum, Houston, Texas; Kunstverein Nürnberg, Germany; Transmission Gallery, Glasgow, UK; White Columns, New York; Vilma Gold Gallery, London and Marc Foxx Gallery, Los Angeles.  She is currently a resident at EMPAC, Renssalaer Polytechnic Institute, Troy, New York, and was an MIT List Visual Arts Center resident in 2011.  West’s work has been included in numerous group exhibitions internationally at such venues as Palais de Tokyo, Paris, France; Carnegie Museum of Art, Pittsburg, PA; Kunsthalle Schirn, Frankfurt, Germany; Saatchi Gallery, London, UK; Drawing Center, New York, NY, to name a few.  She has lectured widely at such venues at the Tate Modern; ICA, London; LACMA; Jewish Museum, New York, NY, among many others.  West’s writings have been published in Artforum, she has produced ten artist books and her work is the subject of a monograph   West is represented by Lisa Cooley Gallery, New York; Vilma Gold Gallery, London and Marc Foxx Gallery, Los Angeles.  West received her MFA from Art Center in Pasadena and her BA from the Evergreen State College in Olympia, WA.  She is an Asst. Professor of Fine Arts Practice at USC’s Roski School of Art and Design, Los Angeles.   Upcoming, she has solo exhibitions at Tramway Art in Glasgow Scotland and Seattle Art Museum in fall of 2016 and she will be staging an interactive film performance for Art Night presented by ICA London.

Sep 232015
 September 23, 2015

Shila Khatami, Sonnenuntergang S K II, 2015

Stray Edge


Monique van Genderen

Shila Khatami

Lisa Williamson

Ulrich Wulff

September 28 – November 6, 2015

Guggenheim Gallery at Chapman University

One University Drive

Orange CA 92866

Artist Reception and Catalog Release Sunday November 1, 2015

Abstraction finally crystalized into the picture plane in high modernism when the German Bauhaus school and Dutch artist group De Stijl, and individuals auch as Piet Mondrian, Kasimir Malewitsch and Sophie Tauber-Arp, developed distinct styles using destilled geometric shapes in their compositions and designs.  In architecture of the time, a sobering developent took place, eliminating ornament, and with it, perhaps, some of its memory and history, from buildings, interior designs and furnishings. Painting discovered its materiality and began to see its surface as the actual drama, as if the viewer were to slowly zoom out of what was once the window into a different world onto its earthly, woven reality.

These reductive maneuvers, counteracting the logic of perspecitive and the mimicry of visual reality, were meant to highten awareness, sharpen the intuition, and express a universal truth and beauty. But it wasn’t long before capitalism deveoured and homogenized these honorable ideals, and led them ad absurdum. Today everybody can purchase a piece of that high modernist action or rather its broken limbs, the remains of a once vital utopianism by purchasing a ‚fjälkinge’ –shelf or a ‚stolmen’-storage system at their local Ikea.

What can abstract painting do to reclaim the philosophical vigor inherent in its modernist components? Does it even have to? Or have the goals of the abstract painter changed altogether?

Stray Edge brings together four artists that work with abstraction through painting and sculpture who are investigating the possibilities of the painted surrface in order to set in motion a play of perception and meaning. The pictures and three-dimensional works are equally open to figurative as well as conceptual or literal readings and set in motion a negotiation between arbitrariness and intentionality. Rather than seeking absolutes in truth and beauty, they are undogmatically propositioning the significance of the painted surface.

Jul 202015
 July 20, 2015

Paths and Edges:
Celebrating the Five-Year Anniversary of the Escalette Collection

John Baldessari
Edith Baumann
Mary Corse
Sam Francis
Frank Gehry
Betty Gold
Anne Hamilton
Al Held
Roger Herman
William Kentridge
Soo Kim
Roy Lichtenstein
Bruce Nauman
Michael Reafsnyder
Ed Ruscha
Richard Serra
July 20 – September 18, 2015

Reception and Catalog Release Sunday, September 13, 2015, from 4PM- 6PM

Opening hours: M-F 12:00pm - 5:00pm;

Sat 11:00am - 4:00pm


The Gallery will remain closed for the Labor Day Weekend from Saturday, September 5, 2015 – Monday, September 7, 2015.

We will be back on our regular schedule as of Tuesday, September 8, 2015.


The Guggenheim Gallery in conjunction with Chapman University’s Escalatte Collection is pleased to announce Paths and Edges: Celebrating the Five-Year Anniversary of the Escalette Collection. Please join us for the reception and catalog release on Sunday, September 13, 2015 from 4PM-6PM.

The Escalette Permanent Collection of Art was officially dedicated on May 4, 2010.  Thanks to the vision and generosity of Ross and Phyllis Escalette, Chapman University’s growing collection of contemporary and modern art was endowed with funds to grow, exhibit, and care for this prized resource on campus. This exhibition features a selection of key works their endowment has supported, and celebrates the Escalette’s dedication to supporting emerging artists as well as established figures in the contemporary art world.

Jan 262015
 January 26, 2015

February 2 – March 14, 2015

Artist Reception & Catalogue Release: Sunday, March 1, 2015 3PM-7PM

Video Screening: Monday, March 9, 2015 (Event time: TBA)

Location: Guggenheim Gallery @ Chapman University, One University Drive, Orange, CA 92866

Hours: Monday-Friday, 12-5PM; Saturday, 11AM-4PM

The Guggenheim Gallery at Chapman University is pleased to announce XX Redux – revisiting a feminist art collective. Please join us for the artist reception on Sunday March 1, 2015 from 3:00 PM – 7:00 PM. On this occasion we will present the exhibition catalog with essays by Nancy Buchanan and Elizabeth Dastin.

Join us also on Monday March 9, 2015 (Event time: TBA) for a special screening of works by Audrey Chan and Elana Mann, Rachel Rosenthal, Barbara McCullough, and others.

Double X, a feminist art collective that flourished from 1975-1985, was committed to expanding the visibility of art made by women—not just work by their own members, but by other women, both established and emerging. In their founding statement, XX declared: “We are committed to expanding the notion of what is considered art . . . .We recognize a pluralistic art that is both stylistically diverse and expressive of a variety of points of view in a framework such that although different modes may conflict with one another, they do not negate one another.” More perspectives now considered the foundation of the feminist art movement were espoused by Double X—although until now, the group has been left out of history. However, XX contributed to the making of this narrative; one of the first projects of the collective was the publication of Faith Wilding’s By Our Own Hands: The Women Artist’s Movement in Southern California, 1971-76. This exhibition offers an opportunity to update the record—not necessarily with historic work, but current pieces.

In this spirit, in addition to art made by former XX members, XX Redux includes performance, photography and painting by younger colleagues Audrey Chan and Micol Hebron, who continue to celebrate feminisms.

Recent works featured in the exhibition include sculpture (Nancy Youdelman), drawing and painting (Merion Estes, Micol Hebron, Connie Jenkins, Carol Kaufman, Rachel Rosenthal, Nancy Buchanan, and Faith Wilding), collage (Jan Lester Martin, Nancy Webber), video (Marsia Alexander-Clarke, Vanalyne Green), photography and digital prints (Diane Calder, Audrey Chan, Mayde Herberg, Rachel Youdelman).

An upstairs space displays books by Faith Wilding and Vaughan Rachel, and feminist ephemera from the past, in an installation designed and realized by Gallery Assistants Tayler Bonfert, Gina Kouyoumdjian and Elizabeth Plumb. In addition, Double X Redux will display posters from the Gallery Tally project organized by Micol Hebron, which continues to illustrate the disparity between male and female artists shown in professional art galleries. These chilling statistics reinforce the importance of recognizing the legacy of Double X.

Oct 072014
 October 7, 2014

Bas Jan Ader, Sarah Bostwick, Joshua Callaghan, Megan Daalder, Karl Haendel, Mary Kelly, John Mills, Jed Ochmanek, Gina Osterloh, Robert Rauschenberg, Peter Wu, Curated by Marcus Herse

October 6 – November 2, 2014

Artist Reception & Catalogue Release: Sunday, November 2, 2014 3PM-7PM

Location: Guggenheim Gallery @ Chapman University, One University Drive, Orange, CA 92866

Hours: Monday-Friday, 12-5PM; Saturday, 11AM-4PM

Art never expresses anything but itself.
Oscar Wilde

I feel like I’m too busy writing history to read it.
Kanye West

The Guggenheim Gallery at Chapman University is pleased to present LIFE TRANSMISSIONS. Please join us for the artist reception and catalog release on Sunday November 2, 2014 from 3-7PM.

The question of what is at the beginning of things – paralleling the metaphor of the chicken and the egg – is negotiated in this exhibition. Is it life that inspires our creative production, or is it precisely art and our creations that enable us to recognize and maneuver the world? The exhibition looks at interdependencies and correlations between these views, and presents a line up of positions that mine this interstice via indexical, mimetic, linguistic, and semiotic tactics.

An old ideal of art and its beauty is that of the perfect illusion. The legendary competition between the ancient Greek painters Zeuxis and Parrhasios illustrates this: Here Zeuxis’s skills with the brush create such a remarkable copy of reality that a flock of doves is trying to pick the painted grapes. Zeuxis however, inspecting his opponent’s work and attempting to remove the curtain that obstructs Parrhasios’s painting, finds out that the joke is on him, as the curtain is in fact part of the work, so masterfully executed that even the great Zeuxis does not recognize it as an illusion.

On the other hand of the spectrum is a view, which the age of enlightenment first introduced, that left a lasting mark on art ever since the project of modernity came into full swing: Art does not mimic the natural world. This view, once a liberation from old doctrines, proposed l’art pour l’art, the autonomous artwork, freed art from the burden of illustration, narration and where possible all other relationality.

So far so good, but in a non-centrical art universe, neither one of these views can be said to dominate our ideas of what art is supposed to be and do. In view of a reality of life that itself has become abstracted, in which the list has replaced the picture, where can a distinction be made between a given, non-negotiable ‘reality’ and the realities we create? How close can art get to life before it disappears into the same?