Shila Khatami, Sonnenuntergang S K II, 2015
Monique van Genderen
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.
Paths and Edges:
Celebrating the Five-Year Anniversary of the Escalette Collection
Reception and Catalog Release Sunday, September 13, 2015, from 4PM- 6PM
Opening hours: M-F 12:00pm - 5:00pm;
Sat 11:00am - 4:00pm
DEAR VISITORS, PLEASE NOTE:
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.
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.
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.
I feel like I’m too busy writing history to read it.
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?
Brian Bress, “The Mushroom (Ellie)”, 2012; High definition single-channel video
SNIFF THE SPACE FLAT ON YOUR FACE
Brian Bress, Cameron, Marc Chagall, Animal Charm, Salvador Dali, India Lawrence, Max Maslansky, Juliana Paciulli, Dani Tull, Jeffrey Vallance, Matt Wardell; Curated by Marcus HerseAugust 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 Times, Los Angeles Times, Artforum, Art in America, Art 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.