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

Opening hours until August 28: M-F 11:00am - 4:00pm

Opening hours from August 31 – September 18: M-F 12:00pm - 5:00pm;

Sat 11:00am - 4:00pm

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?

Aug 222014
 August 22, 2014

   Brian Bress, “The Mushroom (Ellie)”, 2012; High definition single-channel video


Brian Bress, Cameron, Marc Chagall, Animal Charm, Salvador Dali, India Lawrence, Max Maslansky, Juliana Paciulli, Dani Tull, Jeffrey Vallance, Matt Wardell; Curated by Marcus Herse

August 25 – September 25, 2014

Artist Reception & Catalogue Release: Sunday, September 21, 2014 3PM—7PM

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

The Guggenheim Gallery at Chapman University is pleased to announce Sniff the Space Flat on Your Face. Please join us for the artist reception on Sunday, September 21st  2014, from 3PM – 7PM, coinciding with the release of an exhibition catalog.

The fundamental phenomena in art are cyclical, and there is a recurring tendency that often marks a period of transition. It appears between the exhaustion of one era and the vitality of another. It is an aggressive, yet greatly refined spirit, that surfaces in periods such as Surrealism, or Psychedelic Art, and owes its heritage to such disparate movements as Hellenism, Mannerism, Rococo and Romanticism, In it lies a suspicion towards the real as the current knowledge of an epoch defines it and its zeitgeist perceives it, and the general notion that the rational models of art and thought are fragments ‘imposed by the limitations of man’s consciousness upon the unlimited variations of his internal and external world.’*

‘Sniff the Space Flat on your Face’ brings together historical and contemporary positions working with allegiance to this tradition. The artists in the exhibit summon the irrational, the otherworldly, the dramatic and grotesque. They celebrate the poetry of morphing images, uncovering the beautiful spasms, and marvelous states of excitement, which penetrate into our world from underneath the skin of reality.

*Stanley Krippner, ‘Die hypnotische Trance, die psychedelische Erfahrung und der kreative Akt’

Special Thanks to Charlene Baldwin and Essraa Nawar at Leatherby Libraries Chapman University, Scott Hobbs at Cameron Parsons Foundation, Cherry and Martin, Greene Exhibitions and Emi Fontana.


Brian Bress has been widely praised for his brash experiments in installation, video and photo-collage. Sometimes compared to Nauman and the Dadaists, Bress takes an almost maniacal pleasure (coupled with apparently nihilistic abandon) in creating works that smash these diverse media together like so many atoms. He is playful in his criticism of formal strategies at large, but avoids the pitfalls of merely self-indulgent social commentary.

Bress’s works have been called “crudely elaborate” in their similarity to sketch comedy television programming, while evoking in the viewer an intelligent awareness of the deeply critical position of the art world at large.  His position, overlapping the space between the inane and the sublime, is in a constant state of deliberate transformation with each new body of interrelated videos, photographs and collages.

Bress received his MFA from the University of California, Los Angeles and BFA from Rhode Island School of Design. Upcoming solo exhibitions include the Utah Museum of Fine Arts (Salt Lake City, UT, 2015) and the Museum of Contemporary Art (Denver, CO, 2016). Recent exhibitions include the Santa Barbara Museum of Art (Santa Barbara, CA), the New Museum, (New York, NY); Museum of Contemporary Art (North Miami, FL); the Institute of Contemporary Art (Philadelphia, PA); Arthouse (Austin, TX); the Parrish Art Museum (South Hampton, NY); the University of South Florida Contemporary Art Museum (Tampa, FL) and the Utah Museum of Contemporary Art, (Salt Lake City, Utah). His video Under Cover (2007) was included in the landmark exhibition California Video (2008) at the Getty Museum, Los Angeles. His work has been reviewed in such publications as The New York TimesLos Angeles TimesArtforumArt in AmericaArt Review and Frieze. He lives and works in Los Angeles and is represented by Cherry and Martin.

Cameron (Marjorie Cameron Parsons Kimmel) (1922-1995) is one of the most fascinating underground figures of mid century California. A maverick follower of the esoteric mysticism of Aleister Crowley and his philosophical group, the O.T.O. (Ordo Ternpli Orientis), Cameron was also an accomplished painter and draftsman and mentor to younger artists and poets such as Wallace Berman, George Herms, David Meltzer, and Aya.

Cameron’s works demonstrate refined draughtsmanship, formal command, and fantastic imaginative powers. Her sensitive drawings and paintings delineate a magical realm, of metamorphosis and protean transformation. Featuring symbolic creatures in imaginary landscapes, her delicately articulated artworks rival those by fellow surrealists such as Leonora Carrington, Remedios Varo, Ithell Colquhoun, and Leonor Fini. They also seem fascinatingly prescient of fantastical works by contemporary artists such as Kiki Smith, Amy Cutler, Karen Kilimmck, and Hernan Bas.

Marc Chagall was a Belarussian-Russian-French artist. Art critic Robert Hughes referred to Chagall as “the quintessential Jewish artist of the twentieth century” (though Chagall saw his work as “not the dream of one people but of all humanity”). An early modernist, he was associated with several major artistic styles and created works in virtually every artistic medium, including painting, book illustrations, stained glass, stage sets, ceramic, tapestries and fine art prints.

Animal Charm is a video centric artist collaborative and it’s also the spell you use in Dungeons and Dragons to get an animal to do your bidding, a quote from 60′s poet Rod Mckuen, and recently, it is Jim Fetterley and Rich Bott whom “much like ‘Bobby Brown of New Edition’” want to put their names next to their collaborative title.

The duo has been composing, projecting, and installing disruptive and entertaining video collage in live events for clubs, social settings, art museums and galleries since the 1990′s.

Salvador Dalí was a prominent Spanish Catalan surrealist painter born in Figueres, Spain. Dalí was a skilled draftsman, best known for the striking and bizarre images in his surrealist work. His painterly skills are often attributed to the influence of Renaissance masters. His best-known work, The Persistence of Memory, was completed in August 1931. Dalí’s expansive artistic repertoire included film, sculpture, and photography, in collaboration with a range of artists in a variety of media.

India Lawrence was born in London, England, and currently resides in Los Angeles, CA. She completed the Yale Norfolk School of Art in 2010, and graduated from Bard College in 2011, where she received the Milton and Sally Avery Scholarship for the Arts. India has been included in group exhibitions at Tilton Gallery in New York, Betterday in New Mexico, and Roberts and Tilton, Greene Exhibitions, and Secret Recipe in Los Angeles. Represented by Greene Exhibitions in Los Angeles, she is currently preparing for a solo presentation at Art Berlin Contemporary in the fall and a one person exhibition in Los Angeles in 2015.

Max Maslansky lives and works in Los Angeles. This year he was included in “Made in L.A.” at the Hammer Museum, Los Angeles; “Made in Space” at Night Gallery, Los Angeles, which travelled to Gavin Brown’s Enterprise and Venus Over Manhattan, New York in 2013; and “Boiled Angel” at Woodmill GP, London in 2013. He was also included in a 3-person exhibition at Regina Rex, Brooklyn, New York in 2013. He will have a solo exhibition at Five Car Garage, Los Angeles in November 2014 and at Honor Fraser, Los Angeles in the Spring of 2015. Maslansky is also the host of a bi-monthly radio show entitled “Riffin’” on Kchung Radio, Los Angeles.

Juliana Paciulli (b. 1980) is a Los Angeles-based artist. She received her MFA from the University of California, Davis in 2004 and BFA, Magna Cum Laude, from Virginia Commonwealth University in 2002. Solo exhibitions include: Are You Talking to Me at Greene Exhibitions in 2013, Sensors at Las Cienegas Projects in 2009 and The Girl Who Knew Too Much, Episode II at Black Dragon Society in 2005. In 2009, she participated in the three-person exhibition Sharon Lockhart, Juliana Paciulli and Caecilia Tripp at Martos Gallery in New York and was selected by Rineke Dijkstra to attend the Atlantic Center for the Arts residency in New Smyrna Beach, Florida. Her work is included in the collection at the Henry Art Gallery in Seattle as well as many private collections.

Dani Tull is a Los Angeles-based artist. He received his MFA from Stanford University and a BFA from The San Francisco Art Institute. He has exhibited in galleries and museums internationally; selected solo exhibitions include Blum and Poe, Kim Light Gallery, Jack Hanley Gallery, Fredericks & Freiser, Torch Gallery in Amsterdam, Wewerka in Berlin and most recently at On Stellar Rays in New York. His work has been written about in The New York Times, Los Angeles Times, Artforum, Art in America, I.D. Magazine, Art Review and Frieze amongst others. During his career, Dani has collaborated with a variety of internationally recognized artists such as Jim Shaw and Raymond Pettibon. As an accomplished musician and composer, he has recorded and performed with a great variety of musicians. Recent musical projects include solo performances for SASSAS, West Of Rome and LAFMS. Permanent collections include The Metropolitan Museum of Art, The Getty, The Laguna Art Museum and The Peter Norton Family Collection.

Jeffrey Vallance was born in 1955 in Redondo Beach, California. In 1979, he received a B.A. degree from California State University, Northridge. In 1981, he earned an M.F.A. from the Otis Art Institute, Los Angeles.

Jeffrey Vallance has presented exhibitions at museums and galleries around the world, including Dakar, Senegal; Reykjavik, Iceland; Zürich, Switzerland; Milan, Italy; Paris, France; Mexico City, Mexico; Amsterdam and Middelburg, Holland; Vienna, Austria; Sydney and Tasmania, Australia; Stockholm, Sweden; London, England; and Athens, Greece. He is represented by Bernier/Eliades in Athens, Galerie Nathalie Obadia in Paris and Tanya Bonakdar in New York. Vallance was host of MTV’s The Cutting Edge in 1983 and has appeared on NBC’s Late Night with David Letterman. In 2004, Vallance received the prestigious John Simon Guggenheim Memorial Foundation award for installation art.

Jeffrey Vallance’s work blurs the lines between object making, installation, performance, curating and writing. Critics have described his work as an indefinable cross-pollination of many disciplines. Often his installations are exhibited in site-specific locations. Examples include such projects as burying a piece of meat (chicken) at a pet cemetery in California; traveling throughout Polynesia in search of the origin of the myth of Tiki; having an audience with the king of Tonga; having an audience with the queen and president of Palau; meeting with the presidents of Iceland; creating a Richard Nixon Museum; traveling to the Vatican, Turin, and Milan, Italy to study Christian relics; installing an exhibit aboard a tugboat in the Västerbotten Maritime Museum in Umeå, Sweden; curating shows in the so-called fabulous museums of Las Vegas, such as the Liberace Museum, Debbie Reynolds Casino, Cranberry Museum and the Clown Museum; initiating a campaign called “Preserving America’s Cultural Heritage” (a federal bill that would establish a benefit fund for all living visual artists in the United States); and fashioning a shamanic “magic drum” in Lapland. In Orange County, California, Vallance curated the only art-world exhibition of the Painter of Light entitled “Thomas Kinkade: Heaven on Earth.”

In addition to exhibiting his artwork, Mr. Vallance has written for such publications and journals as Art issues, Artforum, L.A. Weekly, Juxtapoz, Frieze and Fortean Times. He has published over 10 books including: Blinky the Friendly Hen, The World of Jeffrey Vallance: Collected Writings 1978-1994, Christian Dinosaur, Art on the Rocks, Preserving America’s Cultural Heritage, Thomas Kinkade: Heaven on Earth, My Life with Dick, Relics and Reliquaries, and The Vallance Bible.

In 1995, Mr. Vallance served as artist-in-residence at the University of Nevada, Las Vegas; from 1999 to 2001, he was Professor in International Contemporary Art at the Umeå University in Sweden; in 2002, Vallance was visiting artist at the University of Texas at San Antonio and artist-in-residence at the University of Tasmania; in 2007, he was visiting professor at the University of California, Santa Barbara. From 2003 to 2009, he taught New Genres in the Art Department at UCLA. Since 2010 he has taught “The Art of Infiltration” at California Institute of the Arts.

Matt Wardell seeks to prolong a sense of wonder and place the viewer in a lingering position of active assessment. He is interested in how we choose to live and introducing work that facilitates these investigations. Wardell enjoys walking on fences, answering wrong numbers, and giving directions to places he does not know. Uncomfortable laughter, confusion, and irritation tend to be by-products of Wardell’s works. He has exhibited at venues throughout the US and Mexico, including the Museum of Modern Art in San Francisco (SFMOMA), Claremont Museum of Art in Claremont, and at Los Angeles Contemporary Exhibitions (LACE), REDCAT, PØST, Human Resources, Black Dragon Society, Mark Moore Gallery, and Commonwealth and Council, all in Los Angeles. Wardell is a founding member of the artist collective 10lb Ape.

May 182014
 May 18, 2014

KNOCK OFF - Hand-Painted Movie Posters from Ghana

May 19, 2014 – August 15, 2014

Please note our summer hours:

Monday – Friday from 10:00AM-4:00PM

The Guggenheim Gallery at Chapman University, in conjunction with Chapman University’s Escalette Permanent Collection of Art, presents Knock Off: Hand-Painted Movie Posters from Ghana.
The exhibition features selected works from Chapman’s collection of original Ghanaian movie posters.
Painted by a small group of artists in the coastal region of Ghana, the posters were made to advertise Hollywood, Hong Kong, and Bollywood films brought to Ghana for screenings in community theatres and video clubs.  The artists often learned their craft through apprenticeships with local painters, although a few are self-taught.  Some painters directly referenced the film’s official poster, but as their works became more in-demand during the late 1980s – 1990s, the artists would create entirely original posters with little prior knowledge about the film other than it’s title.
The movies themselves were almost always B-movies or summer blockbusters: action, martial arts, horror, comedy, sci-fi, and adventure were the dominant cultural imports.  The posters on view in this exhibition might well be even more entertaining than the movies they advertise.

This exhibit is made possible through gifts from Jay and Helen Lavely and Mace Neufield, respectively.

Curated by Natalie Lawler (Assistant Collections Registrar and Preparator) and Marcus Herse (Guggenheim Gallery Coordinator)

Curatorial Assistants: Tayler Bonfert, Hannah Brockway, Casey Wyman


Jan 242014
 January 24, 2014

Photo by Geoff Tuck 2013


January 27 – February 28, 2014

Artist Reception and Catalog Release: Sunday, February 23 from 4-8pm

Hours: Monday — Friday, 12 — 5PM; Saturday, 11AM — 4PM
Chris Burden, Molly Corey, Cayetano Ferrer, Dan Graham, Lia Halloran, Olga Koumoundouros, Aaron Garber Maikovska, Alex McDowell, Isaac Resnikoff, Geoff Tuck, curated by Marcus Herse

The Guggenheim Gallery at Chapman University is pleased to present Your Shell is made of Air. The guiding focus of this survey is the shifting idea of how urban space is perceived. Spanning the period from the late 1960’s until today, these conceptions range from political and utopian approaches, to performative interventions and visions of imagined cities.

City space is a manifestation of human life, like a cast that forms in response to human behavior and desire. The shapes of the city, the buildings, streets, squares, shopping malls and residential areas, are the habitat within which we perform our moves, physically and intellectually.

When every environment is only as rich as the actions it allows for, it is a matter of investigating these places for possibilities and applications that are not originally inherent to them. It is the search for these air pockets that brings the artists in the show together. Deviating from this commonality, the searches touch upon ideas of the city as a playground, a sociopolitical laboratory, a psychological dérive, and the exploration of future urban systems in sci-fi cinema.

An artist reception will be held on Sunday February 23, 2014 from 4-8pm, coinciding with the release of the exhibition catalog designed by U&I Design, and featuring essays by Jan Tumlir, Amy Howden Chapman and Marcus Herse.


Chris Burden was born in Boston, Massachusetts in 1946. He moved to the California in 1965 and obtained a B.F.A at Pomona College, Claremont, California in 1969 and later a M.F.A at the University of California in 1971. During the early seventies, Burden’s first mature works were characterized by the idea that the truly important, viable art of the future would not be with objects; the things that you could simply sell and hang on your wall.  Instead art would be ephemeral and address political, social, environmental and technological change. Burden, with his shockingly simple, unforgettable, “here and now” performances shook the conventional art world and took this new art form to its extreme. The images of Burden that continue to resonate in public mind are of a young man who had himself shot (Shoot, 1971), locked up (Five Day Locker Piece, 1971), electrocuted, (Doorway to Heaven, 1973), cut (Through the Night Softly, 1973), crucified (Trans-fixed, 1974), and advertised on television (4 TV Ads, 1937–77).

His work has subsequently shifted, focusing now on monumental sculptures and large scale installations, such as B-Car, 1975, The Big Wheel, 1979, A Tale of Two Cities, 1981, Beam Drop, 1984,Samson, 1985, Medusa’s Head, 1990, L.A.P.D. Uniforms, 1993,Urban Light, 2008 and Metropolis II, 2010. These works often reflect the social environments, make observations about cultural institutions, and examine the boundaries of science and technology.

Chris Burden works and lives in California and has been represented by Gagosian Gallery since 1991. He has had major retrospectives at the Newport Harbor Art Museum, Newport Beach, California (1988) and the MAK-Austrian Museum of Applied Arts, Vienna (1996). In 1999 Burden exhibited at the 48th Venice Biennale and the Tate Gallery in London. And in the summer of 2008, Burden’s 65 foot tall skyscraper made of one million Erecter set parts, titled What My Dad Gave Me, stood in front of Rockefeller Center, New York City. Burden’s installations and sculptures, which have been exhibited all over the world, have continually challenged viewers’ beliefs and attitudes about art and the contemporary world.

Molly Corey’s work examines the malleability of memory and the way history is interpreted, revised, and received. Her art is driven by history: art history, social history, political history and personal history. Through the use of photography, film, video, sculpture and installation her work investigates the political implications of images, the contradictions found in representation and the slipperiness of “truth and history.” Most recently she has shown her installation, Letter From an Unknown Woman at the MAK Center/Schindler house in West Hollywood. She has exhibited The Dome Project at The Project in New York, Occidental College in Los Angeles and the UAG in Irvine. Her writings have been published in The Benefit of Friends Collected, A Journal of Artist-on-Artist Critical Writing, ArtUs, and the Trenchart, Casement Series. She is currently the Board President of Les Figues Press, a non-profit alternative literary publisher. Corey received a BA in anthropology and photography from the University California at Santa Cruz, a MFA from Otis College of Art and Design and a MA from UCLA’s Critical and Curatorial Studies program. She currently teaches at Loyola Marymount University and University of Southern California. She lives and works in Los Angeles.

Cayetano Ferrer (b. 1981) received an MFA from the University of Southern California Los Angeles, in 2010, and in 2006 a BFA from the School of Art Institute of Chicago. Recent exhibitions include: Made in LA, at The Hammer Museum, LAXART, and the LA Municipal Art Gallery Los Angeles (2012); forecast the days [...], at Galerie Max Mayer, Düsseldorf, Germany (2012); Saul Borisov Archive, at the Roski MFA Gallery at USC, Los Angeles (2011); The New Verisimilitude, at Francois Ghebaly & M+B Gallery, Los Angeles (2011); Forced Perspective, at Mayerei, Karlsruhe, Germany (2010); FIESTA / LA ANONIMA, as part of Works Sited @ Los Angeles Public Library. Ferrer has won several awards including: Artadia Los Angeles Award (2013); the California Community Foundation Emerging Artist Fellowship for Visual Arts (2013); the USC Kathleen Neely Macomber Travel Award (2010); and the Union League Civic and Arts Foundation Visual Arts Award (2006).

For fifty years, Dan Graham has traced the symbiosis between architectural environments and their inhabitants. With a practice that encompasses curating, writing, performance, installation, video, photography and architecture, his analytical bent first came to attention with Homes for America (1966–67), a sequence of photos of suburban development in New Jersey, accompanied by a text charting the economics of land use and the obsolescence of architecture and craftsmanship. Graham’s critical engagement manifests most alluringly in the glass and mirrored pavilions, which he has designed since the late 1970s and which have been realised in sites all over the world. These instruments of reflection – visual and cognitive – highlight the voyeuristic elements of design in the built world; poised between sculpture and architecture, they glean a sparseness from 1960s Minimalism, redolent of Grahams’s emergence in New York in the 1960s alongside Sol Le Witt, Donald Judd and Robert Smithson. Graham himself has described his work and its various manifestations as ‘geometric forms inhabited and activated by the presence of the viewer, [producing] a sense of uneasiness and psychological alienation through a constant play between feelings of inclusion and exclusion.’ The pavilions draw attention to buildings as instruments of expression, psychological strongholds, markers of social change and prisms through which we view others and ourselves.

Dan Graham was born in Urbana, Illinois in 1942 and lives and works in New York. He has had retrospective exhibitions at the Museum of Contemporary Art, Los Angeles (2009), Castello di Rivoli Museo d’Arte Contemporanea, Turin (2006), Museu Serralves, Porto, (2001), Museum of Modern Art, Oxford (1997), Van Abbemuseum, Eindhoven, (1993), Kunsthalle Berne (1983) and the Renaissance Society, University of Chicago (1981). He has participated in documenta 5, 6, 7, 9 and 10 (1972, 1977, 1982, 1992, 1997). Among numerous awards he received the Coutts Contemporary Art Foundation Award, Zurich (1992), the French Vermeil Medal, Paris (2001) and was honoured by the American Academy of Arts and Letters, New York in 2010.

Lia Halloran grew up in the Bay Area surfing and skateboarding while developing a love of science at her first job in high school at the Exploratorium in San Francisco doing cow eye dissections and laser demonstrations. She received her BA from UCLA in 1999, attended SACI 1997-1998 and continued to take astronomy class while in her MFA painting Program at Yale. Halloran’s work often uses concepts in science as a bounding point for her work, exploring how perception, time, and scale informs the human desire to understand the world and our emotional and psychological place within it. Her work has been acquired by the Solomon R. Guggenheim Museum New York, The Speyer Family Collection, New York, The Progressive Art Collection, Cleveland and the Art Museum of South Texas. Solo exhibitions have been held at venues in New York at DCKT Contemporary, Miami at Fredric Snitzer, Boston at la Montagne Gallery, Los Angeles at Martha Otero Gallery, Pulse in London, Barry Whistler Gallery in Texas, and currently in Vienna, Austria at Hilger NEXT. Halloran’s work has been featured in publications including The New York Times, The New Yorker, The BostonGlobe, The Los Angeles Times, ArtNews, and New York Magazine among others. She lives and works in Los Angeles and currently serves as a Assistant Professor of Art at Chapman University and oversees the Painting and Drawing Department where she teaches painting, drawing and courses that look at how Art and Science intersect. She is currently represented by Martha Otero Gallery in Los Angeles, and DCKT Contemporary in New York.

Olga Koumoundouros was born in New York, NY and lives and works in Los Angeles CA. She received her MFA from the California Institute for the Arts. Koumoundouros’ work has been exhibited at venues nationally and internationally including Armand Hammer Museum, Los Angeles, REDCAT, Los Angeles, Salt Lake City Art Center, UT, The Studio Museum in Harlem, NY, Stadshallen Bellfort, Bruges, Belgium, Project Row Houses, Houston, TX, The Tang Museum, Saratoga Springs, NY among others. She is the recipient of both a Creative Capital and Creative Time commissions. She is represented by Susanne Vielmetter Los Angeles Projects.

Aaron Garber-Maikovska (b. Washington, D.C.) lives and works in Los Angeles, CA. He received his B.F.A. from the University of California, Los Angeles. Recent solo exhibitions include Standard (Oslo, Norway), Greene Exhibitions (Los Angeles, CA), and The Green Gallery (Milwaukee, WI). He has participated in group exhibitions at Kavi Gupta (Berlin, Germany), David Castillo Gallery (Miami, FL), China Art Objects (Los Angeles, CA), Rental Gallery (New York, NY) and Karma International (Zürich, Switzerland).

Alex McDowell RDI, Professor of Practice, USC School of Cinematic Arts, Media Arts + Practice, Director, USC World Building Media Lab, Creative Director and Founder, 5D|GlobalStudio

Alex McDowell is one of the most innovative and influential designers working in narrative media. With the impact of his ideas extending far beyond his background in cinema, he advocates an immersive design process that acknowledges the key role of world building in storytelling.

In his 30+ years as a narrative designer, Alex has worked in commercials and cinema with renowned directors Alex Proyas, David Fincher, Steven Spielberg, Terry Gilliam, Andrew Niccol, Tim Burton, and Zack Snyder, amongst many others. He has designed for consumer, corporate, live performance, and interactive, immersive user space.

From 1999-2001 he worked with Steven Spielberg to production design and develop a world for the film Minority Report, prior to a completed script. The process that evolved changed the nature of his film design process from analogue to digital, and profoundly affected the nature of all digital production, pushing a radical shift towards a non-linear workflow. Since then his work has built on the dynamic relationship between creativity and emergent technologies.

Alex recently designed Man Of Steel, Zack Snyder and Chris Nolan’s retelling of the Superman origin story, where he used world building practice and process to build the holistic world of Krypton, its history and its integration with our present day world.

As visiting artist at MIT’s Media Lab from 2006-2011 he designed the robot opera Death and the Powers for composer Tod Machover. He is a Getty Research Institute scholar, a member of the Academy of Motion Picture Arts and Sciences SciTech Council, and on the executive board of the AMPAS Design Branch. In 2006, he was awarded Royal Designer for Industry by the UK’s Royal Society of Arts, and in 2013 the D&AD President’s Award.

McDowell is a Professor of Practice at the USC Cinematic Arts divisions of Interactive Media and Games, Production, and Media Arts and Practice (iMAP), where he is also creative director of the USC World Building Media Lab and the thought leadership network 5D Institute.

He is also the founder and creative director of 5D | Global Studio, an interdisciplinary, multi-platform, and cross-media design studio.

Isaac Resnikoff (b. 1980, Berkeley CA) received an MFA from the University of California Los Angeles in 2009 and a BFA from Cooper Union in 2002. Recent solo exhibitions include Slow Days, Fast Company (Louis B. James, New York), Foundation for a House Made of Air (UCSB AD&A Museum, Santa Barbara), and The Things That Happened (Steve Turner Contemporary, Los Angeles). His work has been included in numerous group shows including exhibitions at Francois Ghebaly (Los Angeles), Samuel Freeman (Los Angeles), Marine Salon (Los Angeles), Rivington Arms (New York), and Pennsylvania Academy of Fine Arts (Philadelphia), and he is also included in The Younger Than Jesus Artists Directory (New Museum and Phaidon Press). He lives and works in Los Angeles.

Geoff Tuck is an artist and writer who divides his time between Los Angeles and Parkfield, CA. He is an autodidact, and received his education in libraries and in conversations. Tuck is the publisher of the online journal Notes on Looking. He has shown his art work in group and solo exhibitions in Los Angeles and internationally.